**Abstract**

Pre-Columbian art in all its varied forms offers rich terrain for furthering our insights into the cultural and symbolic lives of Amerindian peoples. This paper studies decorative patterns of Diaguita origin which present a visual logic characterized by the use of complex symmetries, illusory optical vibration, endless variability stemming from simple geometric forms, *horror vacui*, and gradual structural complication, among other techniques. The features described, the association of this visual art to an animal alter ego (jaguar), and the evidence of hallucinogen use together suggest a cultural link with specific ethnographic (Shipibo-Conibo) and archeological (Mojocoya) visual art. In this case, we are dealing not with a notation system but with visual "technologies of enchantment" (sensu Gell 1998) that are used to produce decorative patterns with social agency that captivate viewers with their visual artifice—the non-mimetic appearance of animation. In 2015, a large cemetery was excavated at the Diaguita site of El Olivar. The graves therein belong to an early Diaguita cultural period, during which the Diaguitas created a techno-stylistic material identity, expressed in visual languages rooted not only in the Andean world, but in ancient cultural traditions of the eastern lowlands of Bolivia and the Peruvian Amazon.

**Keywords:** Chilean Diaguita culture, Shipibo-Conibo culture, South American shamanic art, cultural symmetry, long-distance cultural linkages, indigenous art concept
