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C-2470 - Paracas culture (preincas) cranial changes: imagenological evaluation.

C. C. Hernández Pérez, S. Yusef Mejia, S. Crevoisier, M. Velasco Morales, J. Reynolds, J. Aldana; Bogota/CO Type: Educational Exhibit
Area of Interests: Neuroradiology brain, Forensic / Necropsy studies
Imaging Techniques: CT-High Resolution, Image manipulation / Reconstruction
Procedures: Computer Applications-3D, History
Special Focuses: Education and training, Forensics
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Learning objectives:   1. Make a historical approach to the Paracas culture. 2. Describe the methods of cranial deformation and cranial trepanation in this culture. 3. Make a volumetric and three-dimensional analysis using multidetector computed tomography (320 channels) of five cases with cranial deformations and&[...]

Background: Among the best-known cultural and medical practices of the Inca culture, there is the cranial deformation, a way of identifying class or social group, status of warrior or for aesthetic purposes (1),(2).   Antoher type of practice in the formative period (1000-200 b.C.) were the trepanations pe[...]

Findings and procedure details:   Paracas culture (pre­Incas) cranial changes: Facial reconstructions   Based on frontal and lateral pictures of the skulls, using historical information about Incas – Paracas physiotype; and artist from the Colombian National Police, made a reconstruction of three faces partially conserve[...]

Conclusion: Paracas culture members had body size and brain volume lower than the current average human (3), (4). Trepanations had two origins (surgical and traumatic) with different morphological characteristics. Different types of cranial deformations were found (brachycephaly, dolicocephaly and turricephaly)[...]

Personal information:

References: 1. F.J. Carod-Artal. Paleopatología neurológica en las culturas precolombinas de la costa y el altiplano andino. Historia de las trepanaciones craneales. Revista de neurología 2004; 38(8):791-797.   2. Reynolds J. Trepanaciones y Deformaciones en cinco cráneos Paracas- Perú. Bogotá, 2011. [...]

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