This exceptionally large and finely sculptured example is the largest known Owl Idol stele from the Valdivia culture.The exact interpretation of these small monuments remain unknown and a mystery to this day. It appears that the use of these sculptures was cultic, probably with several stones arrayed together in the same ritual site.

The oldest of the engraved stones arising from this type of artistic production are of simple geometric shapes and show few distinguishing characteristics. It is only with the introduction of a stylised owl that we truly see the first shapes that will be reproduced over the next two millennia, a head separated from the body by a furrow with clearly identifiable eyes and nose, often a hint of paws. Subsequently more elaborate shapes appear, the human form with various parts of the body represented, which seem to refer to a shaman undergoing a mystical transformation between the animal state of the owl to that of the human. The rectangular - shaped stones, with the representation of lines, arrows and dots are of a clearly cosmographic nature, these complex symbols are more difficult to interpret but show a genuine desire for astral interpretation and a clear orientation towards a sacred context.

Related examples are to be found in the collections of the celebrated artists Henry Moore and Antony Gormley both of whom appreciated the purity of Valdivia sculpture.