Con más de un siglo y medio de investigaciones precolombinas pareciera no haberse propuesto nunca una sensata interdisciplinaridad entre las invetigaciones histórico-antropológicas y filosófico-estéticas. La escas bibliografía sobre la obra plástica solo señala objetos históricos con redundantes y trivales descripciones sin la hondura que un ente metafísico requiere. Las opiniones no perciben los diseños, los géneros plásticos y sus estilos morfológicos como tales. Es necesario diferenciar nuestra formación cultural europea con respecto al estudio de las varias estéticas amerindias, porque es imprescindible educar sobre la configuración particular de las obras, sus contenidos y expresiones. La necesidad de una clasificación iconográfica es axiomática, no requiere probarse. La necesidad de una interpretación iconológica es obvia y de vital importancia: debe intentar desocultar la inmanencia.
Having analyzed, on several occasions, the thoughts of Ancient America, I dare to formulate these opinions regarding what was thought in the Argentine Northwest. Here two parallel and simultaneous languages coexisted in the plastic work: the signal and / or ideographic and the aesthetic-plastic. Both unhinge the ideological-mythical and express the religious-poetic. The signal and ideographic was configured with formal designs of figurations or symbolic abstractions and presents the mythical-religious, cosmic and cosmovisive. The design established the aesthetic and the facticity the artisanal or artistic. The plastic fact that has been determined today by the theory. The design named the mythical entity. Thinking was magical and established the causality and content of the entity: that was the foundation of iconography. Several types of vessels were made in series and supported mythical-religious images. Such images are unique and feature gods; therefore they are transcendent. Calling them decoration is fallacious and insulting. Creating organized forms is a function of an aesthetic. In this sense The cult work, for the most part, can be shown that its formal content has been composed harmoniously. The plastic work was volitional and necessary as a mythical-religious, signal, ideographic and aesthetic sacred work, which always configures for those peoples a new cosmic entity conjured. Thus he gave a hopeful sense to the daily reality, full of continuous terrifying incidents.
