Palo Santo Holder from Peru (White)

Origin: Perú Exquisitely crafted and uniquely designed, this artisanal Palo Santo holder originates from Chulucanas, a city in Northern Peru. Due to it’s fine tones, burnishing methods, and flawless sculpting, Chulucanan pottery is widely considered to be the finest in Peru. The city also boasts ancient, pre-Hispanic roots in both the Vicus and Tallán cultures, which can trace their ancestry as far back as 500 A.D. Today, Peruvian artisans still employ ancient ceramic techniques in a nod to their prestigious cultural history. Specifically, the “negative” decoration technique, once a hallmark of the Vicus culture, is obtained by cutting off oxygen flow to the oven. The “palateado” technique, achieved by a rhythmic beating with a wooden paddle and rounded stone in order to shape and control the thickness of the clay, is unique to Tallán culture. Both techniques serve a decorative purpose, rather than a utilitarian one, as local artisans continually seek ways to preserve their history.

• Origin: Perú
• Handmade Palo Santo holders. Measurements: 5"x 5" Will hold most standard sized Palo Santo sticks that have a diameter of up to .5 in and preferably 4-6 in long. Includes 5 Palo Santo sticks.
• Exquisitely crafted and uniquely designed, this artisanal Palo Santo holder originates from Chulucanas, a city in Northern Peru. Due to it’s fine tones, burnishing methods, and flawless sculpting, Chulucanan pottery is widely considered to be the finest in Peru.
• The city also boasts ancient, pre-Hispanic roots in both the Vicus and Tallán cultures, which can trace their ancestry as far back as 500 A.D. Today, Peruvian artisans still employ ancient ceramic techniques in a nod to their prestigious cultural history. Specifically, the “negative” decoration technique, once a hallmark of the Vicus culture, is obtained by cutting off oxygen flow to the oven.
• The “palateado” technique, achieved by a rhythmic beating with a wooden paddle and rounded stone in order to shape and control the thickness of the clay, is unique to Tallán culture. Both techniques serve a decorative purpose, rather than a utilitarian one, as local artisans continually seek ways to preserve their history.