The pre-Hispanic art of the Lowlands of Paraná comprises very realistic to extremely simplified ceramic figurines made by complex hunter-gatherer groups during the Late Holocene. In particular, the article seeks to discuss the differences found between parrot and raptor figures, which are the most frequent motifs. Alternative styles of representation were involved in the visual symbolism of the two groups of birds with well-differentiated morphological and behavioural attributes. Whereas parrot images were elaborated with greater naturalism in sites mostly located in the middle Paraná, birds of prey exhibit a higher degree of stylization and schematization, especially in the lower Paraná. It is proposed that the differences in the artistic modalities used to represent these groups of birds could be related to the positioning of these animals within different metaphorical domains and opposable conceptual categories. It is also suggested that this iconography could be specifically linked to a totemic ontology, which implies a particular attitude towards nature. This study attempts to contribute to broadening our knowledge about the symbolic relationships between humans and animals in pre-Columbian America.

巴拉那低地 (Lowlands of Paraná) 的前西班牙艺术包括由复杂的狩猎采集群体在全新世晚期制作的非常逼真到极其简化的陶瓷雕像。特别是，本文试图讨论鹦鹉和猛禽形象之间的差异，这是最常见的图案。两组具有良好分化的形态和行为属性的鸟类的视觉象征主义涉及替代的表示方式。鹦鹉图像在主要位于巴拉那州中部的地点以更自然主义的方式精心制作，而猛禽表现出更高程度的程式化和图式化，尤其是在巴拉那州下游。有人提出，用于代表这些鸟类群体的艺术形式的差异可能与这些动物在不同隐喻领域和对立概念类别中的定位有关。也有人认为，这种图像可以与图腾本体论特别相关，这意味着对自然的特殊态度。这项研究试图有助于拓宽我们对前哥伦布美洲人类与动物之间象征性关系的认识。