But a new study published in the Journal of Archaeological Science: Reports introduces a complicating factor to these theories: As a trio of Japanese researchers—Masaki Eda of the Hokkaido University Museum, Takeshi Yamasaki of Yamashina Institute for Ornithology, and Masato Sakai of Yamagata University—writes in the paper, an ornithological analysis of the Nazca Lines’ avian glyphs reveals that many of the birds in question were previously misidentified. [...]
Ultimately, the researchers reclassified three of the 16 glyphs studied. According to Live Science’s Stephanie Pappas, an etching once identified as a hummingbird actually portrays a hermit, a subgroup of hummingbird known to live in the forested regions of northern and eastern Peru rather than the southern desert where the lines are situated. Per Ars Technica’s Kiona N. Smith, the hermit was recognized on the basis of its three pointed toes; long, thin beak; and elongated tail feathers. Comparatively, most hummingbirds have forked or fan-shaped tails. [...]
Smith writes that the researchers were unable to identify all 16 of the birds, as some had morphological traits anathema to both their previous classifications (for example, condors and flamingoes) and that of any living species native to Peru. It’s possible, therefore, that some of the drawings represent extinct lineages or are simply inaccurate.[...]
Moving forward, the researchers plan on comparing the glyphs to birds “drawn on pottery, modeled as vessels, and used in religious activities.” By identifying additional members of the avian group, or perhaps gaining a clearer understanding of why the featured species were so important to the Nazca, the team hopes to further unravel the secrets of the still-mysterious Nazca Lines.
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