3D Artifact Models

Three-dimensional models of artifacts aid in archaeological interpretation as well as the preservation of material cultural heritage. The 3D objects on this page represent artifacts made or used by enslaved African-descended individuals residing and working at the Jesuit haciendas in Nasca, Peru during the 17th and 18th centuries. Our team produces 3D models using a technique called photogrammetry, taking a series high resolution photographs of an artifact from many angles and using software to analyze the images and produce a three-dimensional representation. You can read about our process and work with 3D digital archaeology on the Sketchfab Cultural Heritage Blog.

Botijas (Wine Jars)

 

This botija perulera collapsed in the process of firing in a kiln at the Jesuit hacienda San Francisco Xavier de la Nasca .

 

Typical botija decoration at the Jesuit haciendas of Nasca

Botijas are wheel-made ceramic amphora jars that were used during the Spanish colonial period to store and transport wine and brandy (pisco). They came in two sizes, a full-sized botija that held 19-23 liters of wine or brandy, and a half-sized media botija or perulera. At the Jesuit haciendas of Nasca these vessels were produced by enslaved African-descended master ceramicists. These potters elaborated these vessels with decoration that resonated with both Iberian and West African ceramic traditions.

 

Excavated from the distillery of the Hacienda La Ventilla, this sherd is part of the base of a botija. The interior of this botija was coated in tar to protect the liquid in carried from contamination.

This comb incised botija sherd was recovered in excavation from the Hacienda La Ventilla.

Botija Rims

This plaster botija plug was found at the Ingenio Valley’s seaport of Puerto Caballa. The plug is stamped with a Star of David, perhaps indicating the estate of origin or the type of wine or brandy that the botija contained.

This botija neck found at Puerto Caballa has an intact gourd disc and plaster topper.

 
 
 
 

Botija and plug

To seal the botijas’ contents gourd discs were placed in the necks and then plaster was pour over. When the plaster hardened, the botija was sealed. Often the plaster plug was stamped with a design that indicated the estate of origin or the specific contents of the amphora.

These refitted sherds are part of the mouth of a botija. The interior of this botija was coated in tar to protect the liquid it carried from contamination. This sherd was archaeologically excavated at the distillery of the Hacienda La Ventilla.

Although the necks of botijas recovered in excavations at the haciendas of the Ingenio Valley, represent a minority, some botijas were impressed with seals. These are variable and at the Jesuit haciendas they include the IHS Christogram.

This ceramic sherd is from the neck and mouth of a botija. Often botijas were stamped on the neck to indicate their contents or their hacienda of origin.

Botija Setters

This sherd is from a ceramic botija setter archaeologically recovered from the site Hacienda La Ventilla, decorated with thumb impressions on its base are typical of several West African ceramic traditions.

This botija setter sherd recovered from the Hacienda La Ventilla, bears cord roulette impressions typical of several West African ceramic traditions.

Botija in a setterSetters were circular vessels crafted on potters’ wheels to set amphora-shaped wine jars (botijas) upright. At the Jesuit haciendas of Nasca setters were made by enslaved African-descended potters and were elaborated the techniques…

Botija in a setter

Setters were circular vessels crafted on potters’ wheels to set amphora-shaped wine jars (botijas) upright. At the Jesuit haciendas of Nasca setters were made by enslaved African-descended potters and were elaborated the techniques typical of several West African ceramic traditions.

This botija setter sherd recovered from the Hacienda La Ventilla, bears cord roulette impressions typical of several West African ceramic traditions.

This sherd is from a ceramic botija setter archaeologically recovered from the site Hacienda La Ventilla, decorated with thumb impressions on its base are typical of several West African ceramic traditions.

Hacienda Artifacts

This güiro is a gourd rasping instrument from the Hacienda San Joseph de la Nasca, a former Jesuit vineyard in Nasca. Resembling a whale, it would be played by rasping a stick along the perforations. Artifacts like this güiro shed light on daily life among enslaved people who used music in labor, ritual, and domestic life.

This tile fragment was recovered from excavations at the Hacienda San Joseph de la Nasca. Dating to the 18th century, it matches the style and design of the decorative tiles at the Jesuit chapel built at the hacienda in 1744.

Sherds of majolica plates like this one were found in kitchen refuse contexts from slave households at the Hacienda San Joseph de la Nasca.

Majolica plateThe presence of majolica wares, expensive household items during the 17th and 18th centuries, suggest that administrators supplied these dishes to high-ranking enslaved individuals.

Majolica plate

The presence of majolica wares, expensive household items during the 17th and 18th centuries, suggest that administrators supplied these dishes to high-ranking enslaved individuals.

Clay tobacco pipeFragments of ceramic tobacco pipe bowls have been recovered from domestic middens at the Hacienda San Joseph de la Nasca.

Clay tobacco pipe

Fragments of ceramic tobacco pipe bowls have been recovered from domestic middens at the Hacienda San Joseph de la Nasca.

 

This pipe bowl sherd matches African-inspired designs and indexes the higher status of its enslaved owner.