Puruhá Symbols on Guano Rugs

The town of Guano, located in the province of Chimborazo, Ecuador, is a canton renowned for its concentration of cultural expressions related to traditional artisanal techniques, such as the production of garments and leather goods, tanning, textile weaving, products made from cabuya or totora reeds, and knotted rugs. These artisanal practices are embedded in a long-standing historical and symbolic framework, linked to processes of cultural transmission and identity reinterpretation. Furthermore, Guano has been a pivotal site in Ecuadorian archaeological history thanks to the studies of Jacinto Jijón y Caamaño (1927), who identified six cultural phases of the Puruhá culture through ceramic and stratigraphic analysis. The province has earned recognition as the “Cradle of Ecuadorian Nationality” due to its valuable archaeological heritage. However, much of the interpretation of this legacy has been constructed from colonial-era archaeological approaches, which have limited the understanding of the Puruhá worldview and generated interpretive shifts in the cultural attribution of its iconography. This research analyzes, from a semiotic and decolonial perspective, the semiotic codes present in the iconography of the Puruhá culture, observable in archaeological ceramic pieces and their reinterpretation in the Guano rugs, understood as living cultural artifacts. The analysis of the denotative and connotative levels of the graphic motifs integrates the iconographic study, Andean fractal design, and the examination of contemporary artisanal discourses. The results demonstrate the existence of a structured symbolic system, based on principles of duality, complementarity, cyclicality, and the tripartite division of the cosmos, as well as the persistence of patterns such as spirals and zoomorphic figures in current textile production. The study identifies that, despite this symbolic continuity, those who possess this knowledge often attribute these symbols to external cultural frameworks, primarily the Inca culture, which limits their potential as a resource for identity, culture, and tourism. In this sense, the research provides a situated and non-hegemonic interpretive framework that contributes to the cultural reinterpretation of the Guano knotted carpets, offering input for safeguarding intangible cultural heritage, strengthening local identity, and designing sustainable cultural interpretation strategies

Archaeological record · Guano · Iconography · Interpretation (philosophy) · Reinterpretation · Sculpture · Semiotics · The Symbolic · Architecture, Art, Education · Literary and Cultural Studies · Semiotics and Cultural Interpretation