Casa del Alabado, Quito, Ecuador

Casa del Alabado Pre-Columbian Art Museum, nestled in the heart of Quito’s historic center, is a cultural gem that offers a profound glimpse into Ecuador’s ancient civilizations.

Housed in a beautifully restored 17th-century colonial mansion, the museum boasts a collection of over 5,000 archaeological artifacts, with around 500 on permanent display. What sets Casa del Alabado apart is its thematic approach to exhibition—rather than presenting objects chronologically, the museum organizes them by cultural concepts such as cosmology, ritual, and ancestral relationships, allowing visitors to engage with the spiritual and artistic essence of pre-Columbian life.

The museum’s layout includes eight permanent exhibit rooms, each dedicated to a distinct theme, as well as spaces for temporary exhibitions, educational workshops, and two tranquil courtyards. This design encourages reflection and immersion, making the experience both intellectually enriching and aesthetically captivating. Casa del Alabado treats its artifacts not merely as archaeological finds but as works of art, emphasizing their craftsmanship and symbolic meaning. This perspective invites visitors to appreciate the sophistication and depth of indigenous cultures that thrived long before European contact.

Beyond its exhibitions, Casa del Alabado is deeply committed to education and cultural preservation. It offers guided and autonomous visits, and its Educalabado program brings pre-Columbian heritage into schools and communities. The museum has received national recognition for its contributions to conservation and research, including honors from the Municipality of Quito and Ecuador’s Ministry of Culture. These accolades reflect its role as a steward of cultural memory and a beacon for scholarly and public engagement.

Whether you're an art lover, history enthusiast, or curious traveler, Casa del Alabado provides a unique and moving journey into Ecuador’s ancestral past.

Exterior of the museum The Casa del Alabado Museum is housed in one of the oldest and most architecturally significant buildings in Quito’s Historic Center. Though its exact construction date is uncertain, records and inscriptions suggest it was completed in 1671 during the Spanish colonial period. Originally a residence for wealthy families, the house later served various purposes, including rental units and commercial storage. Its layered history is etched into its structure, from the engraved stone beam at the entrance to the blend of architectural styles that span centuries. The building itself is a masterpiece of colonial architecture, with notable features such as a vaulted half-dome entryway that reflects Arab-Andalusian influences. Restoration efforts have preserved these historical elements while integrating modern techniques, resulting in a space that feels both timeless and alive. The house includes two interior courtyards and exterior passageways that create a fluid, contemplative environment for visitors moving between exhibits. Today, the house serves as a fitting vessel for the museum’s collection of over 5,000 pre-Columbian artifacts, 500 of which are on permanent display. Rather than presenting these objects in chronological order, the museum organizes them thematically, emphasizing their artistic and cultural significance. This approach transforms the experience from a historical overview into a journey through the spiritual and cosmological worlds of ancient Ecuadorian cultures. Each of the eight exhibition rooms explores a different theme—ranging from ancestral reverence to environmental relationships—allowing visitors to engage with the artifacts as expressions of belief, ritual, and identity. The house itself, with its rich history and architectural beauty, enhances this experience, making the Casa del Alabado not just a museum, but a living dialogue between past and present. Photographs by David Adam Kess, distributed under a CC-BY 4.0 license.

Inner courtyard of the museum Top photograph by Rubén Ramirez, distributed under a CC-BY 1.0 license. Bottom photograph by David Adam Kess, distributed under a CC-BY 4.0 license.

The exhibition at Casa del Alabado is organized thematically, not chronologically The Casa del Alabado Museum in Quito offers a distinctive thematic organization that invites visitors to explore the spiritual, social, and symbolic dimensions of ancient Ecuadorian cultures. Rather than following a chronological timeline, the museum arranges its exhibits around conceptual themes that reflect how pre-Columbian communities understood their world. This approach emphasizes the continuity of cultural practices—such as food, ritual, and symbolism—that have endured across time and geography. Among the thematic rooms is the World of the Ancestors, which explores how ancient peoples commemorated their dead and maintained ties with those who had passed. The Primordial World delves into origin myths and the foundational elements of existence, while Parallel Worlds examines the coexistence of visible and invisible realms. Axis Mundi represents the symbolic center of the universe, connecting the heavens, earth, and underworld—a concept shared across many indigenous belief systems. Other rooms include Shamans and the Spiritual World, which highlights the role of spiritual intermediaries and their tools, and The Social World: Power and the Elite, which showcases artifacts associated with status and authority. Miniatures focuses on small-scale objects that often held ceremonial or symbolic significance, while the Gallery: Icons from the Collection presents standout pieces that encapsulate the museum’s artistic and cultural vision. Finally, Materials and Techniques reveals the craftsmanship behind the artifacts, emphasizing the ingenuity and aesthetic values of their creators. This thematic structure allows visitors to engage with the collection not just as historical remnants, but as vibrant expressions of identity, belief, and artistry. It fosters a deeper appreciation for the interconnectedness of ancient Ecuadorian cultures and their enduring legacy. Photograph by David Adam Kess, distributed under a CC-BY 4.0 license.

Chronological stages

Casa del Alabado - Museum of Pre-Columbian Art «The Museum houses pieces from the following cultures: The Inga and Guangaia, Las Vegas and Atcamoes, Valdivia and Manteño-Huancavilca, Machallila and Milagro-Ouvedo, Chorrera and Carchi-Pasto, Cotocollao and Kitu-Chaupicruz, Cerro-Narrio and Puruhá, Mayo Chinchipe-Marañon and Cañari, La Tolita-Tobacco and Napo, Jama-Coaque and Inca, Bay.» Photograph by Valérie Veziant.

The occupation of Ecuador in pre-Columbian times has been divided into four chronological stages: Pre-Pottery 9000 BCE - 6000 BCE Formative 4000 BCE - 800 BCE Regional Development 300 BCE - 700 CE Integration 700 CE - 1532 CE Photograph by Valérie Veziant.

Location map of Ecuador in South America Photograph by Valérie Veziant.

Geographic map of Ecuador Photograph by Valérie Veziant.

Preceramic (8000 BCE - 4000 BCE) Primarily hunter-gatherer groups Some degree of sedentarism Establishment of nomadic populations, the result of millennia-long migrations, in different environments Settlement of human groups in the Andean highlands and the coastal and Amazonian lowlands Domestication of plants such as corn and squash Control of surrounding territories for the exploitation of natural resources The coastline was wider Monofacial or bifacial stone carving corresponds to different lifestyles Photograph by Valérie Veziant.

Early Formative (4000 BCE - 1400 BCE) Permanent sedentary settlements with ceremonial centers Development of ceramics, horticulture, and agriculture in the Valdivia culture Exploitation of marine and mangrove resources Domestication and exploitation of animals Construction of albarradas (dams) and camellones (raised fields) for water and farming Middle Formative (1400 BCE - 800 BCE) Exchange of ideas and objects between the Sierra and the Coast, such as the Spondylus shell and obsidian (volcanic glass) Cultivation of quinoa, potatoes, oca, lupine, and cotton in the Sierra Early consumption of cacao in the Mayo Chinchipe-Marañón culture (3500-500 BC) in the Amazon Photograph by Valérie Veziant.

Late Formative (800 BCE - 300 BCE) Major territorial expansion of the Chorrera culture Beginning of mold-based ceramic production Pululahua volcano exploded in 400 BCE Beginning of regional styles Disappearance of the Cotocollao and La Chimba cultures due to the volcano's explosion Main materials used: ceramics and stone Photograph by Valérie Veziant.

Regional Development (300 BCE – 700 CE) Coast occupied by Jama-Coaque, Bahía, and La Tolita-Tumaco Social hierarchies Construction of tolas or mounds as ceremonial or political centers Increased population and cultivation areas Highly ornamented ceramic and metal pieces Specialized artisans Guangala and various local cultures of what are now Guayas and Santa Elena Less hierarchical societies Little ostentation of materials and construction Social organization based on ties of exchange and kinship Main materials used: ceramics, metal, and stone Photograph by Valérie Veziant.

Regional Development (300 BCE – 700 CE) Impact on the Sierra Norte region due to volcanic activity, which left it uninhabited Amazon The development of the Upano culture is centered on the construction of monumental mounds The Cosanga-Panzaleo culture exchanges products between different environments Photograph by Valérie Veziant.

Integration (700 CE - 1532 CE) Differentiated social hierarchies Great cultural homogeneity on the coast Important ceremonial and political centers still in force The Jama-Coaque culture persists and the La Tolita-Tumaco culture disappears Development of the stoneware industry and polished black pottery by the Manteño-Huancavilca navigators Specialization in copperwork by the Milagro-Quevedo culture Development of centrally organized populations and regions in the Sierra, called "caciques" Development of raised fields (raised fields) that give way to intensive farming Main materials used: textiles, ceramics, and metal Photograph by Valérie Veziant.

Integration (700 CE - 1532 CE) Inca Inca intervention in the Sierra beginning in 1460 CE Incorporation of the southern region into the Inca empire of Tahuantinsuyu for nearly 70 years, until the arrival of the Spanish Photograph by Valérie Veziant.

1. World of the Ancestors

World of the Ancestors The World of the Ancestors exhibition offers a profound exploration of how ancient Ecuadorian cultures understood death—not as an end, but as a transformation or passage into another realm. This perspective is deeply rooted in many pre-Columbian societies, where the deceased were believed to continue influencing the living, often taking on forms that merged human, animal, and cosmic elements. The exhibition invites visitors to reflect on this enduring relationship between the living and the dead, a theme that still resonates in many contemporary indigenous communities. The room features a curated selection of archaeological pieces recovered from burial sites and ritual contexts. These artifacts—ceremonial vessels, funerary masks, figurines, and offerings—reveal how these societies honored their ancestors and prepared them for their journey beyond. The objects are not merely remnants of the past; they are expressions of belief systems that viewed death as a continuation of life in another form, often integrated into the cosmos or the natural world. By presenting these pieces in a thematic and artistic framework, the museum encourages visitors to see them not just as historical evidence, but as works of spiritual and cultural significance. The exhibition space itself fosters a contemplative atmosphere, allowing for a deeper emotional and intellectual engagement with the artifacts. It’s a place where the boundaries between past and present blur, and where ancestral memory is given form and voice. This thematic approach aligns with the museum’s broader mission: to treat pre-Columbian objects as art and to illuminate the complex worldviews of ancient cultures. The World of the Ancestors room stands out as a poignant reminder of humanity’s universal quest to understand death, honor lineage, and maintain a connection with those who came before. Photograph by Rubén Ramirez, distributed under a CC-BY 1.0 license.

The World of the Ancestors «In primeval times, a steady flow of spiritual energy both chaotic and harmonious circulated throughout the cosmos inhabited by powerful and creative spirits. These spirits and ancestors were represented in carved stone masterpieces. The stone symbolizes their immortal bodies, charged with cosmic power, the source of vital energy that must flow through our world. Native Americans constantly appealed to their ancestors in order to secure human welfare. These ancestors, in turn, managed the spiritual forces in the underworld or ancestral world, thus maintaining harmony and protecting people from natural disasters and diseases.» Photograph by Valérie Veziant.

Monolith Culture Valdivia, 4000 BCE - 1500 BCE. Clean, modern, abstract design sculpture: the sculptor created a smooth and perfect surface, which allows a subtle play of shadow and light. Another striking feature of this piece is its detachable head which permits the ritual recreation of the sacrifice of human and animal heads. Photograph by Valérie Veziant.

Monolith Culture Valdivia, 4000 BCE - 1500 BCE. This powerful being seems to represent the cosmos: it has complex, multi-faceted structure, and its imposing hands, head and eyes expresses creative force. Photograph by Valérie Veziant.

Monolith Culture Valdivia, 4000 BCE - 1500 BCE. Photograph by Valérie Veziant.

Stone grave markers representing ancestors in human form Quito - Chaupicruz, 500 CE - 1530 CE. Grave markers or steles with human characteristics signify spaces of ritualistic importance linked with death. Their pointed bases, wedged into the ground, ensured their position, and their material—stone—safeguarded their preservation to the present. Photograph by Valérie Veziant.

Monoliths Culture Valdivia, 4000 BCE - 1500 BCE. Photograph by Valérie Veziant.

The absolute This ancestor with six faces, four facing in the cardinal direction, is itself a model of the cosmos. Valdivia, 4000 BCE - 1500 BCE. Steles synthesize and balance multiple dimensions, planes, levels, and straight and curved lines. This representation of a being carved with six faces looks in all directions denoting expansiveness and depth. Photograph by Valérie Veziant.

2. The Primordial World

The Primordial World The pieces gathered in this space exemplify the transcendence of symbols both in the decorative elements on frequently used items, such as seals, as well as on objects with specific purposes in death rituals, such as funeral urns. Many cultures of the pre-Columbian world shared their symbols, which therefore survived over time and extended across the region. «In the past, one of the main necessities of people was to ensure the flow of vital forces into their own world. To do so, they appealed to the primordial world and to their ancestors. The growth of plants, the power of magical animals, the strength of the human hand and the miracle of reproduction were represented in the form of volutes or spirals and labyrinths as evidence of vital power. These designs symbolize the perpetual motion of the living world: an eternal cycle where one is born, dies and is reborn. Today, the same principle remains valid. The earth is a balanced ecological system that supports all forms of life and where all the elements, living or not, intercommunicate.» Photograph by Valérie Veziant.

Whistle Bottles Culture Chorrera, 950 BCE - 350 BCE. Funerary and ceremonial bottle that expresses the flow of cosmic energy as an abstract spiral, like a snail shell. Photograph by Valérie Veziant.

Ictiomorphic Plates Culture Chorrera, 950 BCE - 350 BCE. Photograph by Valérie Veziant.

Bowls Culture Valdivia, 4000 BCE - 1500 BCE. Photograph by Valérie Veziant.

Bowl Culture Valdivia, 4000 BCE - 1500 BCE. Valdivia boat-shaped bowl with heads on the bow and stern, evoking the myth of the bicephalous snake: the object promotes the smooth flow of the current of life. Photograph by Valérie Veziant.

Photograph by Valérie Veziant.

«Lidded funerary urns, in which the bones of ancestors are kept. Their shape evokes female hips.» Photograph by Valérie Veziant.

Funerary Urn Culture Napo, 1200 CE - 1600 CE. In the Amazon River basin, secondary burials were carried out with cadavers that were exhumed and re-buried in funeral urns with shapes alluding to the human body. Each one invokes an individual and is therefore unique in design and shape. Photograph by Valérie Veziant.

Funerary Urn Culture Napo, 1200 CE - 1600 CE. Photograph by Valérie Veziant.

Globular Vessel Culture Napo, 1200 CE - 1600 CE. Photograph by Valérie Veziant.

Photograph by Valérie Veziant.

Funerary Urn Culture Napo, 1200 CE - 1600 CE. Photograph by Valérie Veziant.

Pedestal Bowl Culture Guangala, 200 BCE - 800 CE. Photograph by Valérie Veziant.

Photograph by Valérie Veziant.

Stamps Ceramic seals developed by cultures such as the Jama-Coaque and the Manteño-Huancavilca served a double purpose—decorative, as stamps to decorate textiles or the body, and as identification. It is possible that each image reflected had a meaning for the person who used it as well as for the social group to which they belonged. Photograph by Valérie Veziant.

Stamp Culture Jama-Coaque, 500 BCE - 1530 CE. Photograph by Valérie Veziant.

Stamp Culture Jama-Coaque, 500 BCE - 1530 CE. Photograph by Valérie Veziant.

Stamp Culture Jama-Coaque, 500 BCE - 1530 CE. Photograph by Valérie Veziant.

Stamps Culture Jama-Coaque, 500 BCE - 1530 CE. Photograph by Valérie Veziant.

Stamp Culture Jama-Coaque, 500 BCE - 1530 CE. Photograph by Valérie Veziant.

Stamps Culture Jama-Coaque, 500 BCE - 1530 CE. Photograph by Valérie Veziant.

Stamp Culture Jama-Coaque, 500 BCE - 1530 CE. Photograph by Valérie Veziant.

Stamps Culture Jama-Coaque, 500 BCE - 1530 CE. Photograph by Valérie Veziant.

Circular Bowl Culture Chorrera, 950 BCE - 350 BCE. Photograph by Valérie Veziant.

3. Parallel Worlds

Parallel Worlds The Parallel Worlds exhibition invites visitors into a space where the boundaries between nature and culture dissolve, echoing the holistic worldview of pre-Columbian civilizations. Rather than treating biodiversity and human life as separate domains, the exhibition presents them as intertwined dimensions of existence. Through this lens, the room becomes a dialogic space—one that encourages reflection on how ancient peoples perceived their surroundings not as fragmented realities but as a unified tapestry of life, movement, and meaning. In the Life Cycles section, the human experience is rendered with striking intimacy. Sculptures and artifacts depict bodies in motion—dancing, grieving, rejoicing—capturing the emotional spectrum of daily life. These figures are not static relics but expressive forms that mirror our own gestures and feelings. They also reflect societal roles and cosmological beliefs, such as the earth as a maternal force. By showcasing these representations, the exhibition bridges past and present, allowing modern viewers to recognize themselves in ancient expressions of identity, ritual, and emotion. The Biodiversity section celebrates the natural world as a source of sustenance, inspiration, and reverence. Pre-Columbian artisans portrayed the flora and fauna of their environment with remarkable sensitivity, from the textures of fruits to the mystique of sacred animals. These depictions reveal not only ecological knowledge but also a spiritual connection to nature. In highlighting biodiversity as a creative and symbolic force, the exhibition underscores how deeply embedded the natural world was in the cultural imagination of ancient Ecuadorian societies—an insight that feels especially urgent in today’s fragmented ecological discourse. Photograph by Rubén Ramirez, distributed under a CC-BY 1.0 license.

Parallel Worlds «According to the world view of indigenous American peoples, the cosmos is composed of many parallel worlds, often classified in three groups: the celestial realm and the underworld where ancestors, deities and good and bad spirits dwell; and the earthly world is the middle, inhabited by humans as well as plants, animals, and minerals. Many rituals and objects promote communication among these worlds and maintain the flow of vital energy, the dynamic equilibrium of nature and the continuity of life. In addition, they reflect the dual Structure of the cosmic system, made dynamic by its opposite and complementary forces such as night and day, male and female, life and death. When the cosmos is divided in halves, and each half in two again, this quadripartition generates the concept of four cardinal points and a powerful center. This represents schematically the sacred geography of the parallel worlds.» Photograph by Valérie Veziant.

Vessel Culture Chorrera, 950 BCE - 350 BCE. Photograph by Valérie Veziant.

Pedestal Bowl Culture Carchi, 750 CE - 1550 CE. Pedestal bowls used to imbibe sacred beverages come from tombs in Carchi. Their iconography is cosmic: designs in this vessel suggest the principle of quadripartition and shining stars. Photograph by Valérie Veziant.

Photograph by Valérie Veziant.

Sahumador Culture La Tolita, 350 BCE - 350 CE. Photograph by Valérie Veziant.

House-shaped Bottle Culture La Tolita, 350 BCE - 350 CE. This house-like bottle may represent the stratified universe. The artist used negative painting to apply. Photograph by Valérie Veziant.

Model of House Culture La Tolita, 350 BCE - 350 CE. Photograph by Valérie Veziant.

Model of House Culture La Tolita, 350 BCE - 350 CE. Photograph by Valérie Veziant.

Vessel Cosanga o Panzaleo, 500 BCE - 1500 CE. Photograph by Valérie Veziant.

Circular Bowl Culture Guangala, 200 BCE - 800 CE. Photograph by Valérie Veziant.

Circular Bowl Culture Guangala, 200 BCE - 800 CE. Photograph by Valérie Veziant.

Ceramic Stamps Culture Jama-Coaque, 500 BCE - 1530 CE. Photograph by Valérie Veziant.

Circular Bowl Culture Guangala, 200 BCE - 800 CE. Photograph by Valérie Veziant.

Concave Vessel Culture Manteño Guancavilca, 1100 CE - 1520 CE. Incised motifs displayed on the exterior of the base of this Manteño Guancavilca bowl seem to refer to the multiple, parallel and concentric worldsof the ancient cosmos. Each layer is represented by spirals, volutes and other motifs that suggest the flow of energy. Photograph by Valérie Veziant.

Stamp (top left), Flat Stamp (bottom left), Ceramic Stamp (bottom right) Culture Jama-Coaque, 500 BCE - 1530 CE. The Ceramic Stamp (bottom right) shows an abstract and geometric representation. Photograph by Valérie Veziant.

Circular Bowl Culture Guangala, 200 BCE - 800 CE. Photograph by Valérie Veziant.

Bowl Culture Carchi, 750 CE - 1550 CE. Dark red bowl animated by four heads oriented towards the cardinal directions. Perhaps the center represents a gateway to the underworld, the realm of the death and the renewal of life. Photograph by Valérie Veziant.

Bicephalous Vessel Culture Carchi, 750 CE - 1550 CE. Photograph by Valérie Veziant.

Bottle Culture Chorrera, 950 BCE - 350 BCE. This vessel expresses the four cosmic directions, and the presence of X- shaped motifs reiterates the concept of quadripartition. Photograph by Valérie Veziant.

Anthropomorphic Mask Culture Jama-Coaque, 500 BCE - 1530 CE. Anthropomorphic Mask with a nose ornament. Photograph by Valérie Veziant.

«To feed someone is to reaffirm the goal of continuing life; to feed ancestors is to show the human role in maintaining the flow of vital forces.» Culture Carchi-Pasto, 750 CE - 1550 CE. Photograph by Valérie Veziant.

Anthropomorphic Figurines Culture Carchi, 750 CE - 1550 CE. Top: The portrait of a pregnat woman prevails because of the proportions of her head, custody of the intrinsic force of the being, as well as for the rest of her body, deposit of new life. Bottom: Childbirth demonstrates splendidly the continuity of life. A man helped this woman during labor. At that moment, both were united again to produce life on earth. Photograph by Valérie Veziant.

Couple with child Culture Jama-Coaque, 350 BCE - 1530 CE. Photograph by Valérie Veziant.

Valdivia figurines Feminine anthropomorphic figures, ceramic. Valdivia, 4000 BCE - 1800 BCE. Ceramic figures called the Venus of Valdivia are emblematic pieces from Ecuador’s pre-Columbian past representing women in different phases of life—youth, pregnancy, lactation, and old age. Their ritual importance is undeniable although their function remains the object of archaeological research. Photograph by Valérie Veziant.

Anthropomorphic Figurine (Venus) Culture Valdivia, 4000 BCE - 1500 BCE. Photograph by Valérie Veziant.

Shaman‘s Table Culture Jama-Coaque, 500 BCE - 1530 CE. Plate supported by seven ancestor figures, or deities, dressed as members of the ruling class. To communicate the idea of abundance, the plate is decorated with a series of frogs, symbols of rain and fertility, and with beans, miraculous seeds that reproduce a thousand fold from each grain sown. Photograph by Valérie Veziant.

Pachamama (Mother Earth) Anthropomorphic tubular bottle, ceramic. Pasto, 700 CE - 1500 CE. The figure modeled on this bottle—a mother carrying her child swaddled across her back, as is customary in certain parts of the Andes—has a direct link with agricultural rituals, especially planting. Photograph by Valérie Veziant.

Anthropomorphic Figurine Culture Carchi, 750 CE - 1550 CE. This effigy celebrates the female role in the continuation of life: likewise, shamans contact sipirits in other worlds in order to achieve the same goal. Photograph by Valérie Veziant.

«Small mammals that are especially prolific in times of good harvests, suggest the concept of abundance.» Photograph by Valérie Veziant.

Zoomorphic Vessel (top) Culture Chorrera, 950 BCE - 350 BCE. Zoomorphic Figure (bottom) Culture La Tolita, 350 BCE - 350 CE. Photograph by Valérie Veziant.

Whistle Bottle Culture Chorrera, 950 BCE - 350 BCE. Photograph by Valérie Veziant.

Zoomorphic Vessel Culture Chorrera, 950 BCE - 350 BCE. Photograph by Valérie Veziant.

Vessel Culture Manteño Guancavilca, 1100 CE - 1520 CE. Photograph by Valérie Veziant.

Photograph by Valérie Veziant.

Whistle Bottles Culture Bahía, 400 BCE - 700 CE. Photograph by Valérie Veziant.

Semi-globular Vessel Culture Carchi, 750 CE - 1550 CE. Photograph by Valérie Veziant.

Photograph by Valérie Veziant.

Whistling Bottle Culture Jama-Coaque, 500 BCE - 1530 CE. Photograph by Valérie Veziant.

Zoomorphic Figurine Culture Jama-Coaque, 500 BCE - 1530 CE. Photograph by Valérie Veziant.

Zoomorphic Figure (Possum) Culture Manteño Guancavilca, 1100 CE - 1520 CE. Photograph by Valérie Veziant.

Zoomorphic Globular Vessel Culture Chorrera, 950 BCE. - 350 BCE. Croaking frogs announce the beginning of the rainy season and a time of abundance, therefore, this animal was associated with water, rain and fertility. The unusual reproductive activities of some species make the frog a natural symbol of fecundity. Photograph by Valérie Veziant.

Zoomorphic Figurine Culture Jama-Coaque, 500 BCE - 1530 CE. This monkey glides gracefully along a vine, executing amusing pirouettes, but the earrings and a pendant draw our attention to its cultural significance: the monkey figures in the ideology, myths and legends of the Jama-Coaque culture, and it is also a natural symbol of sexuality and therefore related to the continuity of life. Photograph by Valérie Veziant.

4. Axis Mundi

Axis Mundi The Axis Mundi exhibition centers on the profound connection between the spiritual and the everyday in pre-Columbian cultures. In these societies, the sacred was not confined to temples or rituals—it permeated daily life, shaping how people understood their place in the universe. The concept of Axis Mundi, or the world’s spiritual axis, represents the symbolic center that links the heavens, earth, and underworld. This exhibition brings that idea to life through ceramic depictions of individuals who served as guardians of this cosmic balance. The room features figures of shamans, healers, chieftains, and ritual officials—men and women whose roles were essential in maintaining harmony between realms. These individuals were not only leaders in their communities but also spiritual mediators who navigated the boundaries between the visible and invisible worlds. The ceramic pieces, often stylized and expressive, reflect their elevated status and the reverence with which they were regarded. Each artifact in the Axis Mundi space is carefully chosen to illustrate how these figures embodied the intersection of power, spirituality, and ritual. Their attire, posture, and symbolic accessories speak to their responsibilities in guiding ceremonies, healing the sick, and protecting the community from spiritual harm. The exhibition invites visitors to consider how these roles were deeply embedded in the cosmological frameworks of ancient Ecuadorian cultures. By presenting these figures as artistic and spiritual icons, the museum emphasizes the enduring relevance of the Axis Mundi concept. It’s a reminder that for many indigenous cultures, the sacred is not separate from life—it is its very foundation. Photograph by David Adam Kess, distributed under a CC-BY 4.0 license.

Anthropomorphic Figure Culture La Tolita, 350 BCE - 350 CE. The cross, a ubiquitous symbol in Amerindian art, arises from the conjunction of the four cardinal points.This great La Tolita lord bears on his head a representation of the sacred spiritual center, a circle with the center point indicated. Photograph by Valérie Veziant.

Anthropomorphic Figure Culture Carchi, 750 CE - 1550 CE. Photograph by Valérie Veziant.

Anthropomorphic Figure Culture Jama-Coaque, 350 BCE - 1530 CE. Photograph by Valérie Veziant.

Anthropomorphic Figure (Sahumador) Culture Manteño Guancavilca, 1100 CE - 1520 CE. A Manteño Guancavilca personage seated on a bench embodies the axis mundi. As a priest or political authority he expresses his connection with the divine. His role as intermediary is signaled by symbols or high rank incised on his body, and the thumb mounted above a half fist is a gesture found in several art styles that signifies his ability to transform into a feline. Photograph by Valérie Veziant.

Anthropomorphic Figure Culture Jama-Coaque, 500 BCE - 1530 CE. Portrait of an individual in the Jama-Coaque style: the man seated upon manioc roots wears ritual attire , and his high rank is manifest. He likely served as an intermediary in spiritual communication, and his social position depended on the productivity of the earth, symbolized by the manioc. Photograph by Valérie Veziant.

5. Shamans and the Spiritual World

The Spiritual World of the Shaman «Shamans are the keepers of the ancient knowledge of their people and are responsible for the ritual activities necessary for their well-being. When participating in a ceremony, the shaman communicates with powerful spirits and undertakes dangerous Spiritual journeys in the underworld, where he may Struggle with evil spirits. To be ready and able to participate in rituals, the shaman has to undergo a long and dangerous process of preparation. He carries arms and wears protective clothing: radiant headgear, ornaments of various materials including metal, red paint and body tattoos. Today, the term shaman is used indistinctly to refer to an array of indigenous priests, healers, sages, wizards, sorcerers, psychics and clairvoyants.» Photograph by Valérie Veziant.

Shaman Culture Napo, 1200 CE - 1600 CE. The power of knowledge is represented by a maze of lines running across the body of this shaman who sees, hears and sings accompanied by the spirit of ayahuasca, the sacred plant of the Ecuadorian rainforest. Photograph by Valérie Veziant.

Zoomorphic Figure Culture Carchi, 750 CE - 1550 CE. For many Native American groups, the deer is a spiritual intermediary, the alter ego of some shamans. Photograph by Valérie Veziant.

Anthropomorphic Figure Culture Jama-Coaque, 500 BCE - 1530 CE. Shaman represented with a staff, symbol of authority, and dressed to participate in a ceremony. His muscular thighs are bound with colorful ornaments and an embossed golden cover protects his masculine organs. He also wears three strands of green stone beads, a necklace that suggests fertility, huge gold earrings that resemble fish, and a gilt diadem with projecting crustacean claws. Photograph by Valérie Veziant.

Anthropomorphic Figure Culture Jama-Coaque, 350 BCE - 1530 CE. Photograph by Valérie Veziant.

Anthropomorphic Vessel Culture Cosanga, 500 BCE - 1500 CE. Photograph by Valérie Veziant.

Anthropomorphic Figure Culture Jama-Coaque, 350 BCE - 1530 CE. «An animal on the head of the shaman represents the strength that accompanies him. It is is animal helper and spiritual protector.» Photograph by Valérie Veziant.

Anthropomorphic Figure Culture Bahía, 450 BCE - 700 CE. «A man of high rank modeled in lotus position. His headdress with great horns and the snake-shaped necklace are typical of a shaman.» Photograph by Valérie Veziant.

Anthropomorphic Figurine Culture Jama-Coaque, 500 BCE - 1530 CE. Represented in a warrior‘s pose and costume this shaman battles opposing forces with his magic arrows. The hero stands on a snuff tablet used to inhale hallucinogenic substances that facilitated his passage over the threshold of consciousness. Photograph by Valérie Veziant.

Anthropomorphic Alcuza Culture Manteño Guancavilca, 1100 CE - 1520 CE. Photograph by Valérie Veziant.

Anthropomorphic Bottle Culture Jama-Coaque, 500 BCE - 1530 CE. Photograph by Valérie Veziant.

Concave Bowls Culture Carchi, 750 CE - 1550 CE. Photograph by Valérie Veziant.

Anthropozoomorphic Figures Culture La Tolita, 350 BCE - 350 CE. Photograph by Valérie Veziant.

Semi-Globular Vessel Culture Bahía, 400 BCE - 700 CE. Photograph by Valérie Veziant.

Ceramic Culture La Tolita-Tumaco, 600 BCE - 300 CE. Photograph by Valérie Veziant.

Corporal Ornament Culture Guangala, 200 BCE - 800 CE. Photograph by Valérie Veziant.

Photograph by Valérie Veziant.

Photograph by Valérie Veziant.

Stone vessel Culture Mayo-Chinchipe, 3500 BCE - 1700 BCE. Photograph by Valérie Veziant.

Photograph by Valérie Veziant.

Ceremonial Mortar Culture Valdivia, 4000 BCE - 1500 BCE. Photograph by Valérie Veziant.

Anthropozoomorphic Vessel Culture Jama-Coaque, 500 BCE - 1530 CE. Photograph by Valérie Veziant.

Anthropomorphic Figure Culture La Tolita, 350 BCE - 350 CE. Photograph by Valérie Veziant.

Anthropomorphic Figure Culture La Tolita, 300 BCE - 400 CE. Photograph by Valérie Veziant.

Anthropomorphic Figures Culture La Tolita, 350 BCE - 350 CE. Right: The Shaman manipulates an assortment of snakes during the ritual. In him, live snakes adorn his body. Photograph by Valérie Veziant.

Zoomorphic Mortar Culture Valdivia, 4000 BCE - 1500 BCE. Photograph by Valérie Veziant.

Anthropomorphic Figures Culture La Tolita, 350 BCE - 350 CE. Seated on stools, two La Tolita personages consume lime that releases the alkaloids from the wad of coca visible in their cheeks. The Shaman may engage in spiritual communication alone or in family and community contexts like this one. Photograph by Valérie Veziant.

Zoomorphic Lime pot (top) and Circular Bowl (bottom) Culture Guangala, 200 BCE - 800 CE. Photograph by Valérie Veziant.

Anthropomorphic Figures Culture Jama-Coaque, 500 BCE - 1530 CE. Photograph by Valérie Veziant.

Photograph by Valérie Veziant.

Anthropomorphic Figures Culture Carchi, 750 CE - 1550 CE. Photograph by Valérie Veziant.

Photograph by Valérie Veziant.

Anthropomorphic Figures Culture Carchi, 750 CE - 1550 CE. Photograph by Valérie Veziant.

Semi - globular Vessel Culture Jama-Coaque, 500 BCE - 1530 CE. Photograph by Valérie Veziant.

Poporo Culture Jama-Coaque, 500 BCE - 1530 CE. Photograph by Valérie Veziant.

Zoomorphic Bottle Culture Chorrera, 950 BCE - 350 BCE. Photograph by Valérie Veziant.

Ocarinas Culture Carchi, 750 CE - 1550 CE. Photograph by Valérie Veziant.

Anthropomorphic Bottles Culture Chorrera, 950 BCE - 350 BCE. Photograph by Valérie Veziant.

Anthropozoomorphic Vessel Culture La Tolita, 350 BCE - 350 CE. Lying in wait, this half-human being begins to shift—perhaps the Shaman is transforming into his alter ego. Alert and watchful, his blue-green eyes and radiant headdress hint at a journey beyond the veil of ordinary reality. Photograph by Valérie Veziant.

Anthropomorphic Figurine Culture Jama-Coaque, 500 BCE - 1530 CE. This winged man seeks to communicate with gods and spirits. He makes nocturnal flights that bring him back to his community full of wisdom and power. Photograph by Valérie Veziant.

Anthropomorphic Vessel Culture Jama-Coaque, 500 BCE - 1530 CE. Photograph by Valérie Veziant.

Anthropozoomorphic Vessel Culture Jama-Coaque, 500 BCE - 1530 CE. Photograph by Valérie Veziant.

Whistling Bottle Culture Jama-Coaque, 500 BCE - 1530 CE. Photograph by Valérie Veziant.

Anthropomorphic Vessel Culture Jama-Coaque, 500 BCE - 1530 CE. Photograph by Valérie Veziant.

Photograph by Valérie Veziant.

Anthropomorphic Vessel Culture Jama-Coaque, 500 BCE - 1530 CE. Photograph by Valérie Veziant.

Zoomorphic Bottle Culture Manteño Guancavilca, 1100 CE - 1520 CE. Photograph by Valérie Veziant.

Photograph by Valérie Veziant.

Anthropozoomorphic Plate Culture Jama-Coaque, 500 BCE - 1530 CE. Photograph by Valérie Veziant.

Anthropomorphic Figurine Culture Jama-Coaque, 500 BCE - 1530 CE. Although few effigies of trophy heads are known in the corpus of Jama-Coaque-style ceramics, some images of shrunken heads (called Tzanzas), or masks that represent them, adorn the clothing depicted on some ceramic figures. Photograph by Valérie Veziant.

Anthropomorphic Figure Culture Manteño Guancavilca, 400 CE - 1532 CE. Photograph by Valérie Veziant.

Photograph by Valérie Veziant.

Anthropomorphic Figurine Culture Jama-Coaque, 500 BCE - 1530 CE. Photograph by Valérie Veziant.

6. The Social World: Power and the Elite

The Social World: Power and the Elite The exhibition The Social World: Power and the Elite delves into the social hierarchies of pre-Columbian societies, revealing how power and privilege were distributed among individuals and groups. While research is ongoing, many archaeologists believe these ancient societies bore structural similarities to modern ones, with divisions often rooted in birthright, profession, or access to valuable resources. This room presents a compelling narrative of how status and influence were expressed through material culture. Among the figures highlighted are goldsmiths, warriors, and shamans—individuals whose specialized roles granted them proximity to the centers of power. Their elevated status is reflected in the artifacts they left behind, many of which were discovered in burial sites alongside luxury items and ritual objects. These findings suggest that social stratification was not only present but deeply embedded in cultural practices, with wealth and prestige often passed down or earned through sacred or skilled professions. The exhibition features a range of objects that accompanied the deceased in their internment, such as ornate ceramics, jewelry, and textiles. These items serve as indicators of social rank and reveal disparities within the same cultural group. By examining these burial offerings, visitors gain insight into how ancient Ecuadorian societies viewed leadership, legacy, and the material expressions of power. Through its thematic and artistic presentation, The Social World: Power and the Elite encourages reflection on the enduring nature of social divisions and the ways in which material culture communicates status. It’s a space where ancient hierarchies come to life, offering a mirror to contemporary structures of influence and privilege. Photograph by Rubén Ramirez, distributed under a CC-BY 1.0 license.

The World of Elites «The elite formed the social group that exercised power and governed in the past. Ornamented with objects of power, the members of the elite distinguished themselves as custodians of vital energies. Their rituals and bellicose activities signaled their material and spiritual wealth. They performed sacrifices and offered prisoners of war to the spirits while they invested much of their resources in the production of art objects. The creation and use of these objects gave evidence of their power and strengthened their authority. The social strategy of the elite included maintaining communication with the ancestors and the management of forces in parallel worlds, in the terrestrial world, they built kin relationships, and created political dependencies.» Photograph by Valérie Veziant.

Globular Vessel Culture Cosanga, 500 BCE - 1500 CE. Photograph by Valérie Veziant.

Anthropomorphic Vessel Culture Jama-Coaque, 500 BCE - 1530 CE. Photograph by Valérie Veziant.

Globular Vessel Culture Jama-Coaque, 500 BCE - 1530 CE. Well dressed warrior throwing darts. His posture and solid body are defiant. The insignia on his forehead and the pectoral, a metal tinculpa, express the vitality and strength needed to defeat the enemy. Photograph by Valérie Veziant.

Globular Vessel Culture Cosanga, 500 BCE - 1500 CE. Photograph by Valérie Veziant.

Left: Trophy Head Culture La Tolita, 350 BCE - 350 CE. Center: Anthropomorphic Head Culture La Tolita, 350 BCE - 350 CE. Right: Trophy Head Culture La Tolita, 350 BCE - 350 CE. Effigy of a severed human head. This trophy, carefully preserved, was proof of the sacrifice of an enemy or adversary. Photograph by Valérie Veziant.

Anthropomorphic Head Culture Jama-Coaque, 500 BCE - 1530 CE. Photograph by Valérie Veziant.

Left: Trophy Head Culture La Tolita, 350 BCE - 350 CE. Center: Trophy Head Culture La Tolita, 350 BCE - 350 CE. Right: Anthropomorphic Head Culture La Tolita, 350 BCE - 350 CE. Photograph by Valérie Veziant.

Army of Warriors Culture Jama-Coaque, 500 BCE - 1530 CE. The members of this miniature army were modeled in dynamic positions. Their painted eyes, with enhanced pupils, show their vital energy. Although at first glance it appears that they are in uniform, there is some level of individuality, especially evident in the nose rings that adorn and protect their nostrils and mouths. Photograph by Valérie Veziant.

Top: Anthropomorphic Figurine Culture Chorrera, 950 BCE - 350 BCE. Center: Anthropomorphic Figurine Culture Chorrera, 950 BCE - 350 BCE. Bottom: Whistle Anthropomorphic Figurine Culture Chorrera, 950 BCE - 350 BCE. Photograph by Valérie Veziant.

Table Culture Jama-Coaque, 500 BCE - 1530 CE. Photograph by Valérie Veziant.

Anthropomorphic Figurine Culture Bahía, 400 BCE - 700 CE. Photograph by Valérie Veziant.

Anthropomorphic Vessel Culture Jama-Coaque, 500 BCE - 1530 CE. Photograph by Valérie Veziant.

Anthropomorphic Vessel Culture Jama-Coaque, 500 BCE - 1530 CE. Photograph by Valérie Veziant.

Photograph by Valérie Veziant.

Photograph by Valérie Veziant.

Photograph by Valérie Veziant.

Nose Pendant Culture Cañari, 400 CE - 1532 CE. Photograph by Valérie Veziant.

Anthropomorphic Vessel Culture Jama-Coaque, 500 BCE - 1530 CE. Photograph by Valérie Veziant.

Photograph by Valérie Veziant.

Photograph by Valérie Veziant.

Vessel Culture Manteño Guancavilca, 1100 CE - 1520 CE. Photograph by Valérie Veziant.

Circular Bowl Culture Guangala, 200 BCE - 800 CE. Photograph by Valérie Veziant.

Anthropomorphic Table Culture Jama-Coaque, 500 BCE - 1530 CE. Photograph by Valérie Veziant.

Anthropomorphic Figurine Culture Guangala, 200 BCE - 800 CE. Photograph by Valérie Veziant.

Anthropomorphic Figurine Culture Napo, 1200 CE - 1600 CE. «A shaman holding a mirror, a ritual object that signifies his involvement in spiritual communication.» Photograph by Valérie Veziant.

7. Miniatures

The Miniatures exhibition offers a captivating glimpse into the intimate world of pre-Columbian craftsmanship. These small-scale artifacts, often overlooked in favor of grander ceremonial pieces, reveal the meticulous artistry and symbolic depth of ancient cultures. Crafted from marine materials or volcanic and sedimentary stone, each miniature carries with it the essence of the natural world and the spiritual beliefs of its makers. Their diminutive size belies their significance—they were not merely decorative but served as ritual companions, talismans, and ceremonial tools.

Visitors to the exhibition encounter objects that were once held in the hands of shamans, mourners, and travelers between worlds. These miniatures were integral to communal rites and personal journeys, often accompanying the deceased into the afterlife. Their portability made them ideal for repeated use and intimate interaction, and their surfaces bear the wear of generations. The exhibition emphasizes how these objects were not static relics but dynamic participants in the spiritual and social lives of pre-Columbian peoples. Their presence in the museum invites reflection on the continuity of memory and the tactile connection between past and present.

What makes the Miniatures exhibition especially poignant is its focus on the emotional and sensory resonance of these objects. Casa Alabado’s curatorial approach treats them not just as archaeological finds but as animated entities—commonplace yet extraordinary. These amulets, shaped by countless hands and journeys, still pulse with meaning. They evoke a sense of wonder and reverence, reminding us that even the smallest artifact can carry immense cultural weight. In this way, the exhibition becomes a space not only for historical education but for aesthetic and spiritual contemplation.

Ball players Culture Chorrera, 950 BCE - 350 BCE. This pair of figurines from the Chorrera culture is unique in size, as the format rarely permits such detailed work. The delicacy of the modeling of their bodies as well as their facial expressions, with eyes open and half-opened mouths, may be associated with performance or public roles. This supposition is reinforced by the fact that both hold little spheres in their hands that may well be linked to ball games. Photograph by Valérie Veziant.

Photograph by Valérie Veziant.

Photograph by Valérie Veziant.

Photograph by Valérie Veziant.

Photograph by Valérie Veziant.

Photograph by Valérie Veziant.

Photograph by Valérie Veziant.

Photograph by Valérie Veziant.

Anthropomorpfic Head (bottom right) Culture La Tolita, 350 BCE - 350 CE. Spoon (bottom far right) Culture La Tolita, 350 BCE - 350 CE. Photograph by Valérie Veziant.

Photograph by Valérie Veziant.

8. Gallery: Icons of the Collection

Gallery: Icons of the Collection The Gallery: Icons of the Collection exhibition is a luminous and visually captivating space that showcases some of the museum’s most emblematic pre-Columbian artifacts. These pieces were selected not only for their historical significance but for their exceptional aesthetic qualities—color, form, and symbolic richness. Each object stands out for its uniqueness and artistic mastery, offering visitors a chance to appreciate the creative spirit of ancient Ecuadorian cultures. The gallery is framed by four imposing eucalyptus columns, which lend a sense of grandeur and organic elegance to the room. Behind the display lies Quito’s first vertical garden, a living wall that adds texture and vitality to the space. This natural backdrop complements the earthy materials of the artifacts and reinforces the museum’s philosophy of connecting art, nature, and spirituality. Visitors are encouraged to wander freely through the gallery, allowing personal curiosity and aesthetic preference to guide their experience. The open layout and thoughtful lighting invite close inspection of each piece, whether it’s a winged Jama-Coaque figure in battle posture or a carved Valdivia stele with six faces gazing in all directions. These icons are not just archaeological finds—they are masterpieces that speak to the complexity and beauty of pre-Columbian worldviews. By elevating these objects to the status of art, the Gallery: Icons of the Collection reinforces the museum’s mission to present ancient artifacts as expressions of cultural identity and imagination. It’s a space that celebrates the extraordinary craftsmanship and symbolic depth of Ecuador’s ancestral heritage. Photographs by David Adam Kess, distributed under a CC-BY 4.0 license.

Anthropomorphic Figurine Culture Jama-Coaque, 500 BCE - 1530 CE. Photograph by Valérie Veziant.

Anthropomorphic Figurine Culture Jama-Coaque, 500 BCE - 1530 CE. Photograph by Valérie Veziant.

Anthropozoomorphic Table Culture Jama-Coaque, 500 BCE - 1530 CE. Photograph by Valérie Veziant.

Zoomorphic Vessel Culture Chorrera, 950 BCE - 350 BCE. Photograph by Valérie Veziant.

Anthropomorphic Vessel Culture Chorrera, 950 BCE - 350 BCE. Photograph by Valérie Veziant.

Whistle Bottle Culture Chorrera, 950 BCE - 350 BCE. Photograph by Valérie Veziant.

Anthropomorphic Figurine Culture Chorrera, 950 BCE - 350 BCE. Photograph by Valérie Veziant.

Photograph by Valérie Veziant.

Whistle Bottle Culture Chorrera, 950 BCE - 350 BCE. In an act of imagination the artist constructed a geometrical bottle, composed of twelve pentagonal facets, that may be interpreted as an idealized fruit or a mineral crystal. Photograph by Valérie Veziant.

Anthropomorphic Figurine Culture Manteño Guancavilca, 1100 CE - 1520 CE. Photograph by Valérie Veziant.

Ornitomorphic Bottle Culture Chorrera, 950 BCE - 350 BCE. Photograph by Valérie Veziant.

Photograph by Valérie Veziant.

Llauto Culture Carchi, 750 CE - 1550 CE. Photograph by Valérie Veziant.

Ornament shaped like ears of corn Culture Carchi, 750 CE - 1550 CE. Photograph by Valérie Veziant.

Pectoral (center) Culture Jama-Coaque, 500 BCE - 1530 CE. Photograph by Valérie Veziant.

Photograph by Valérie Veziant.

Anthropomorphic Figurine Culture Jama-Coaque, 500 BCE - 1530 CE. Photograph by Valérie Veziant.

Photograph by Valérie Veziant.

9. The World of Materials

The World of Materials «Through a process fraught with power and spiritual force, artisans with profound knowledge, artistic vision and great craftsmanship transformed the elements of nature into both ritual and everyday objects. This transformation is a metaphor for the life cycle. Seeds become plants, the dead become ancestors, snakes are renewed when they discard their old skins, and a chrysalis becomes a butterfly. Everything in nature changes, wile human hands creatively transform the elements that nature provides. The art of turning clay, stone, metal, wood, fiber and shell into cultural objects was a spiritual activity. Different materials have become cultural elements that made human life possible and have enriched it spiritually.» Photograph by Valérie Veziant.

Chair Culture Manteño Guancavilca, 1100 CE - 1520 CE. In large Manteño-Guancavilca ceremonial centers, stone carvings have been found that symbolize the strength and power of their rulers. Photograph by Valérie Veziant.

Photograph by Valérie Veziant.

Ceremonial Mortar Culture Valdivia, 4000 BCE - 1500 BCE. Photograph by Valérie Veziant.

Vessel Culture La Tolita, 600 BCE - 300 CE. Photograph by Valérie Veziant.

Anthropomorphic Figure Culture Manteño-Huancavilca, 600 CE - 1532 CE. Photograph by Valérie Veziant.

Ceremonial Mortar Culture Valdivia, 4000 BCE - 1500 BCE. Photograph by Valérie Veziant.

Ceremonial Mortar Culture Valdivia, 4000 BCE - 1500 BCE. Photograph by Valérie Veziant.

Ceremonial Mortar Culture Valdivia, 4000 BCE - 1500 BCE. Photograph by Valérie Veziant.

Ceremonial Mortar Culture Valdivia, 4000 BCE - 1500 BCE. Photograph by Valérie Veziant.

Photograph by Valérie Veziant.

Anthropomorphic Figurine and Mold Culture Chorrera, 950 BCE - 350 BCE. Sacred Chorrera-style figurines were prepared with moulds like this one. To model the front of the figure, the artisan pressed a thin sheet of clay onto a piece of handmade cotton cloth, and then introduced the clay into the mould, applying finger pressure to the cloth side. Photograph by Valérie Veziant.

Anthropomorphic Bottle Culture Chorrera, 950 BCE - 350 BCE. Photograph by Valérie Veziant.

Photograph by Valérie Veziant.

Photograph by Valérie Veziant.

Shaman's Table Culture Jama-Coaque, 500 BCE - 1530 CE. Photograph by Valérie Veziant.

Whistle Bottle Culture Chorrera, 950 BCE - 350 BCE. Photograph by Valérie Veziant.

Vessel Culture La Tolita, 600 BCE - 300 CE. Photograph by Valérie Veziant.

Photograph by Valérie Veziant.

Pedestal Bowl Culture Carchi, 750 CE - 1550 CE. Photograph by Valérie Veziant.

Photograph by Valérie Veziant.

Photograph by Valérie Veziant.

Anthropomorphic Figurines Culture Carchi, 750 CE - 1550 CE. Photograph by Valérie Veziant.

Anthropomorphic Vessel Culture Puruhá, 1250 CE - 1530 CE. Photograph by Valérie Veziant.

Photograph by Valérie Veziant.

Photograph by Valérie Veziant.

Photograph by Valérie Veziant.

Vessels Culture Carchi, 750 CE - 1550 CE. Photograph by Valérie Veziant.

Photograph by Valérie Veziant.

Photograph by Valérie Veziant.

Lliptero Culture Carchi, 750 CE - 1550 CE. Photograph by Valérie Veziant.

Anthropomorphic Figurine Culture Valdivia, 4000 BCE - 1500 BCE. Photograph by Valérie Veziant.

Whistling Bottle Culture Chorrera, 950 BCE - 350 BCE. This double bottle, with a bridge-shaped handle and connective tube, presents the light blue head of a harpy eagle whose diadem is adorned with appliqué dots that may represents the stars of the celestial world. Photograph by Valérie Veziant.

Fragments with zoomorphic figures Culture Manteño-Guancavilca, 1100 CE - 1520 CE. Photograph by Valérie Veziant.

Photograph by Valérie Veziant.

Anthropomorphic Figurine Culture Guangala, 200 BCE - 800 CE. Photograph by Valérie Veziant.

Crested Bird (left) and Zoomorphic Ornament (right) Culture Jama-Coaque, 500 BCE - 1530 CE. The shape of the base of the object and the complete perforation are evidence of its function. It is a "hook" that supports the dart that is laid along the shaft of the dart thrower in order to be propelled into the air. Birds, characterized by excellent vision and unsurpassed flight, are most appropriate guardians for dart throwers. Photograph by Valérie Veziant.

Photograph by Valérie Veziant.

Photograph by Valérie Veziant.

Photograph by Valérie Veziant.

Photograph by Valérie Veziant.

Anthropomorphic Figurine Culture La Tolita, 350 BCE - 350 CE. Photograph by Valérie Veziant.

Photograph by Valérie Veziant.

Rectangular Nose Ornament Culture Carchi, 750 CE - 1550 CE. Photograph by Valérie Veziant.

Totem Culture Milagro-Quevedo, 701 CE - 1531 CE. Photograph by Valérie Veziant.

Semi - circular Nose Ornamemt (left), Semi - ovoid Nose Ornamemt (middle right), Nose Ornament (center bottom), Concave Nose Ornament (top right), Nose Pendant (bottom right) Culture Jama-Coaque, 500 BCE - 1530 CE. Photograph by Valérie Veziant.

Museum shop

Museum shop Photograph by Rubén Ramirez, distributed under a CC-BY 1.0 license.

See Also

• Middle of the World
• Intiñan Solar Museum
• The Chapel of Man

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Sources

• Casa del Alabado Museum of Pre-Columbian Art - Wikipedia
• Casa del Alabado Pre-Columbian Art Museum

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Location