This study examines geographic origins of basketry, animal and human grave offerings (including a feline trophy head, camelid bone instruments and human trophy heads) interred as grave goods at the cemetery of Uraca in the Majes Valley, Arequipa, Peru during the Early Intermediate Period to Middle Horizon (c. 100 bce–750 ce). We aim to identify whether any of these human or non-human beings or artifacts were non-local to the Majes Valley and explore the ontologically informed meanings underlying the incorporation of geographically distant beings and things into mortuary landscapes. We report new grave good 87Sr/86Sr (n = 36) relative to published data from Uraca human trophy heads and non-trophy individuals (n = 55). Defining the local 87Sr/86Sr range as the mean ±2σ of the non-trophy and non-camelid or small home-range fauna, we compare the proportions of non-local outliers between plant, animal and human grave-offering types. The 87Sr/86Sr range of all new samples is 0.70609–0.70954, encompassing the 87Sr/86Sr variability of much of southern Peru from the coast to the highlands. Nearly half of camelids, the feline trophy, most camelid whistles and one basketry sample were non-local, suggesting that assembling beings and things from both local and distant geographies was an important aspect of making the mortuary landscape.

This article is an exploration of how Christian influences manifested in Indigenous rock art, comparing two distinct case studies: western Arnhem Land in northern Australia and the southern Andes in north-central Chile. The analysis aims to understand the intersection between Indigenous artistic traditions and the introduction of Christianity through European colonization. Our comparative analysis reveals significant regional differences. In western Arnhem Land, the scarcity of Christian imagery suggests resistance to or avoidance of religious symbols, while in north-central Chile, the prevalence of Christian symbols indicates a more profound incorporation of Christianity into Indigenous artistic practices. These findings underscore the importance of considering local contexts and historical processes when examining the impact of colonization on Indigenous art. Understanding these differences provides valuable insights into the complex interactions between Indigenous cultures and European colonizers, revealing resistance and adaptation in the face of profound social and religious changes.

During the 2016 and 2017 fieldwork seasons at the site of Qijiaping in Guanghe County, Gansu Province, China, the team of the Tao River Archaeology Project excavated a large intact kiln. The kiln is well preserved, and the first of its kind reported in an archaeological excavation in this region. Several lines of evidence demonstrate that this was a roof tile kiln used during the Song period (ad 960–1279), possibly associated with the construction and maintenance of defensive facilities during the time of Northern Song (ad 1079–1127) occupation of the region— an era of conflict with the Western Xia (ad 982–1227). Inside the flues of the kiln were many objects disposed of when the kiln was put out of commission. Among these objects is a stone phallus, an object that reflects a gendered aspect of technology and manufacturing associated with this kiln or its decommissioning and more broadly the gendered social landscape of the Tao River valley during the Northern Song occupation of the region.