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Este trabajo busca contribuir a la discusion sobre el proceso de expansion del estado Inka hacia las areas perifericas del sur de los Andes, particularmente en los valles costeros Lluta y Azapa del extremo norte de Chile. Este proceso es analizado explorando el rol del arte rupestre ‐como soporte material de transmision de ideologia‐ en el proceso de integracion que experimentaron las pobla ciones locales de los valles de Lluta y Azapa ante el arribo de la influencia incaica. Se busca responder si existe en el area de estudio un arte rupestre que pueda ser reconocido como Inka, y como este se relaciona con el proceso de expansion del estado Inka. Se analizan tres sitios habitacionales con presencia de bloques grabados, ocupados durante el periodo Tardio o Inka (1.400-1.53 0 d.C.): Millune y Vinto en el valle de Lluta y Achuyo en el valle de Azapa. Sobre la base de diferencias formales del arte rupes tre relacionadas con variaciones en la composicion de componentes ceramicos, arquitectura y organizacion del espacio de los sitios, postulamos la existencia de un patron de arte rupestre de origen local pre-Inka, que es transformado y utilizado por el Inka de acuerdo a los intereses imperiales de expansion ideologica y control de esta provincia. Concluimos que uno de los cambios mas notorios provocados por el orden Inka ocurre en la transformacion formal del arte rupestre local y su uso en espacios publicos. Palabras claves: Arte rupestre, asentamientos habitacionales, expansion Inka. This paper intends to contribute to discussion of the Inka state expansion toward the peripheral areas of the southern Andes, including the Lluta and Azapa coastal valleys, northern Chile. This process is analysed through exploration of the role of rock art ‐as a material medium for ideological transmission‐ in the Inka integration of local populations. We try to demonstrate whether it is possible to recognize an Inka rock art and how this was related to the Inka expansion. We analyse three small residential sites, which include engraved stones and were occupied, at least, during the Late period (ca . 1300-1450 A.D.). Millune and Vinto are in the Lluta valley and Achuyo is in the Azapa valley. Based on differences in the forma l attributes of the rock art, and associated features such as decorated pottery, architecture and spatial organization of the roc k art, we postulate the existence of a local and pre-Inka rock art style. This style was transformed and utilized by the Inka state as an ideological tool, based on their imperial interest, for the conquest and control of this province. We conclude that the most re able change took place in the conversion of formal aspects of the local rock art style to more standardized, Inka style, and in the relocation of the rock art scenario from private to public spaces.
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