Abstract

The stylistic study of two regions of northern Chile (southern Atacama Desert and north foothills of Arica Parinacota region) draws parallels artistic tendencies that we recognize in the rock art of southern Andes. Despite the apparent diversity of aesthetic figures and scenes between these two zones, this analysis allows to find the intrinsic mechanisms that vary uniformly human and animal representation. With the archaeological contexts or figures overlays features a chronostylistic description can be proposed for these rock art sites from Arica foothills, less known. A detailed reading of the change in the treatment of the main figures (camelids and humans) helps us to design the new perception of a group, of their environment and themselves. But relationships between man and animal shown in scenes allow us to understand simultaneously the emergence of new socioeconomic practices and changes in the artistic treatment of the various figures. This comparison is an important starting point for understanding the profound changes taking place in the symbolic sphere of Andean cultures. Stylistic mutations are indices of the overthrow of the system of representations probably linked to the new socioeconomic context of highland artists.