Quimbaya Craftsmanship
Find out about the main techniques used by Quimbaya goldsmiths to create exquisite artefacts
By Museo de América
A project of the Museum of the Americas and the Colombian Institute of Anthropology and History (ICANH)
Phytomorphic container (5th century AD to 7th AD) by Quimbaya Archaeological RegionMuseo de América
This is the second of a four-part series that will introduce you to some of the characteristics of the Quimbaya societies. Discover the masterful techniques used by Quimbaya artisans to create their breathtaking gold artifacts.
Cinerary urn (5th century AD to 7th AD) by Quimbaya Archaeological RegionMuseo de América
Many hands, one culture
Variations in technique and style among the Quimbaya gold artifacts suggest multiple artisans were involved in their creation.
3D anthropomorphic container (3rd century BC to the 5th AD) by Quimbaya IMuseo de América
Quimbaya artisans, both men and women, mastered the techniques of metal casting and lost wax. They were able to create works of great beauty and uniqueness, such as this figure of a seated chief.
Reel-type ear muff (5th century AD to 7th AD) by Quimbaya Archaeological RegionMuseo de América
Lost wax casting
To produce the objects, an initial core was made from a mixture of clay and charcoal, which was covered with wax and modelled. This was then covered with another layer of clay, and when the wax in between had melted, it was replaced with molten metal.
Reel-type ear muff (5th century AD to 7th AD) by Quimbaya Archaeological RegionMuseo de América
Removing the outer and inner clay and polishing the piece is the final stage. On these earrings it is clear that there has been no removal of the inner core, so the earrings should not have been in use.
Cinerary urn (5th century AD to 7th AD) by Quimbaya Archaeological RegionMuseo de América
Partitioning and repair
To prevent movement between the inner and outer clay cores, connecting partitions were placed after the wax layer had melted. These partitions left rounded holes which were later covered with a metal plate and polished.
Notice the cast partition plugs on the figure's skull and buttocks. A repair is also visible on its back. These details reveal the artisan's process.
X-ray of an anthropomorphic container (5th century AD to 7th AD)Museo de América
Added components, as seen in this vessel's X-ray, weren't always fully integrated into the Quimbaya artifacts, often becoming detached.
Hemispherical helmet (5th century AD to 7th AD) by Quimbaya Archaeological RegionMuseo de América
Other techniques: Casting, hammering and embossing
Some of the pieces, such as the helmets, after the lost wax casting, had their decoration finished by hammering on a certain shape. This way, semi-spherical reliefs, dots, lines, etc. were obtained.
3D headdress (3rd century BC to the 5th AD) by Quimbaya IMuseo de América
This helmet shows Quimbaya's intricate techniques: relief work from the back, outlining from the front, and detailed incised lines visible at the base.
Hemispherical helmet (5th century AD to 7th AD) by Quimbaya Archaeological RegionMuseo de América
Additions
Some Quimbaya pieces used a tongue-and-groove system for added elements. This female figure's head, for example, was attached to the helmet after the initial casting.
The embossed body contrasts with the separately added head, which originally featured lost inlaid stone or shell. This reveals the artifact's layered creation.
Lime container or poporo (5th century AD to 7th AD) by Quimbaya Archaeological RegionMuseo de América
Casting errors: Technical expertise
Sometimes, due to a technical fault in some part of the process, for example, if the temperature of the metal did not reach the necessary melting point, the entire space left by the wax was not filled, causing gaps such as those seen in the vessel.
To cover them, a second casting was usually made by filling in the losses with wax and re-melting that part, but these additions were easily lost, as happened in this case.
Pin with a bird-shaped head (5th century AD to 7th AD) by Quimbaya Archaeological RegionMuseo de América
Colors of alloys
By successive casting (first the parts with metals or alloys with higher melting points and then alloys with lower melting points), pieces of different colors were made, such as this stick for consuming lime.
This lime stick features a bird with copper-colored wings and crest, and a gold body. Gold, having the highest melting point, was likely cast first.
Discoid pendant (5th century AD to 7th AD) by Quimbaya Archaeological RegionMuseo de América
By applying oxalic acid and polishing, goldsmiths could selectively remove copper, revealing the underlying metal and creating varied colors on the same piece.
Discoid pendant (5th century AD to 7th AD) by Quimbaya Archaeological RegionMuseo de América
This has resulted in areas, such as the gold outer surface of this disc-shaped pendant, where the copper has been removed. The inside, however, still shows the copper color.
3D anthropomorphic container (3rd century BC to the 5th AD) by Quimbaya IMuseo de América
Explore the Quimbaya collection in interactive 3D
The pieces of the Treasure have been documented using high-precision photogrammetry to create digital twins that are as accurate as possible. You can explore them at here.
Cinerary urn (5th century AD to 7th AD) by Quimbaya Archaeological RegionMuseo de América
Learn more about the Quimbaya culture
Curator:
Andrés Gutiérrez Usillos (MAm)
Beatriz Robledo Sanz (MAm)
Fernando Montejo Gaitán (ICANH)
Natalia Sofía Angarita (ICANH)
Photographs:
Museum of America
Joaquín Otero
Tomás Antelo
Gonzalo J. Trancho
Alfonso Hernández Roldán
ICANH (Colombian Institute of Anthropology and History)
Andrés Epifanio Becerra García (ICANH)General Archives of the Nation
Natalia Angarita
Manuel V. Boe – CC
Jacilluch – CC
pxhere.com – CC
Design and layout:
Alfonso Hernández Roldán
Fernando Izquierdo González
Acknowledgements:
Clemencia Plazas Uscátegui
Laura Sánchez (Archivo General de la Nación)
Natalia Rodríguez (Archivo General de la Nación)
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