The Festival of The Images in The Andes
Visual poetry. Semantic pair structure. Twice-repeated scene. 'Doblete' in a quero-cup, wood. Colonial, Perú, Siglos XVI-XVIII. Colección Museo Chileno de Arte Precolombino, 2323.
'Doblete'. Illustration in the wooden quero-cup. Colonial, Central Andes of Peru, Siglos XVI-XVIII, Colección Museo Chileno de Arte Precolombino, 2323.
'Doblete' in a Wari deep ceramic vessel. Central Andes of Peru, AD 600-950. Colección Museo Nacional de Arqueología, Antropología e Historia del Perú-Ministerio de Cultura de Perú, C-034748.
'Doblete' in a Wari deep ceramic vessel.
Wari deep ceramic vessel in exhibition.
Parallelism. Illustration of a scene in a Colonial quero-cup. Colección Museo Nacional de Arqueología, Antropología e Historia del Perú, Mo-10395.
‘Dobletes’ and parallelism
‘Doblete’
This is what we could call a ‘poetic’ structure that is not a rhyme but the intentional repetition of an idea or feeling. It works through the duplication of an image or a phrase with a minimal but significant variation each time, as we can see in the main drawing of a quero-cup and in the Wari ceramic vessel.
As in the quero-cup, in the Wari ceramic vessel, the central figure, holding staffs in each hand and wearing a headdress with radiating snakes, is repeated on the other side of the vessel, creating a ‘doblete’.
Parallelism
This structure is well illustrated in this another quero-cup. A female figure and an ‘amaru’ (winged serpent) is located under the second rainbow. The ‘amaru’ is part of the same field of meanings as the female image located in the first rainbow, although its meaning is more limited.