This wide-ranging survey, now established as the best single-volume introduction to Andean art and architecture on the market today, describes the strikingly varied artistic achievements of the Chavín, Paracas, Moche, Nasca, Chimú and Inca cultures, among others. For this fully revised third edition, Rebecca Stone has rewritten and expanded the text throughout, touching on many of the recent discoveries and advances in the field. These include new work on the huge stone pyramids and other structures at Caral; continued excavations of Inca child sacrifices perched on mountaintops throughout the empire, with their perfectly preserved clothing and miniature offerings of metal, ceramics and shell; spectacular murals and the remarkable burial of a tattooed female warrior-leader at the Moche site of Huaca Cao Viejo; and many new finds of high-status textiles, along with fresh analyses of weaving technology and new interpretations of designs and motifs.
This is a study of the art and architecture created by the various cultures of the ancient Andes. The book examines the goldwork, intricate textiles, vast cities and tall pyramids that constitute one of the oldest artistic traditions in history which, although the Incas are famous as the masters of the largest empire in the Renaissance world, remains relatively little-known."
With over four hundred color photographs, this book presents an overview of the religious, textile, costume, utilitarian, and festival folk arts made after the Andeans were free from Spanish colonial rule.
From prehistory to the present, the Indigenous peoples of the Andes have used a visual symbol system—that is, art—to express their sense of the sacred and its immanence in the natural world. Many visual motifs that originated prior to the Incas still appear in Andean art today, despite the onslaught of cultural disruption that native Andeans have endured over several centuries. Indeed, art has always been a unifying power through which Andeans maintain their spirituality, pride, and culture while resisting the oppression of the dominant society. In this book, Mary Strong takes a significantly new approach to Andean art that links prehistoric to contemporary forms through an ethnographic understanding of Indigenous Andean culture. In the first part of the book, she provides a broad historical survey of Andean art that explores how Andean religious concepts have been expressed in art and how artists have responded to cultural encounters and impositions, ranging from invasion and conquest to international labor migration and the internet. In the second part, Strong looks at eight contemporary art types—the scissors dance (danza de tijeras), home altars (retablos), carved gourds (mates), ceramics (ceramica), painted boards (tablas), weavings (textiles), tinware (hojalateria), and Huamanga stone carvings (piedra de Huamanga). She includes prehistoric and historic information about each art form, its religious meaning, the natural environment and sociopolitical processes that help to shape its expression, and how it is constructed or performed by today’s artists, many of whom are quoted in the book.
"Eminent ancestors of the better-known Inca, the Wari ascended to power in the south-central highlands of Peru in about AD 600, underwent a period of explosive growth, and then, by AD 1000, collapsed. During this lifespan, they created a society of such unprecedented complexity that many today regard it as the first empire in the Andes. Elite arts and the ideologies that informed them were among the culture's most prominent exports. From their eponymous capital, one of the largest archaeological sites inSouth America, the Wari sent elaborate objects and textiles to their highland provincial centers as well as down into populous Pacific coastal areas to the west. The arts were crucial to their political, economic, and religious systems. Since the Wari did not write, the arts took on special roles in preserving and communicating information. This book is published on the occasion of an exhibition organized by the Cleveland Museum of Art that features some 170 objects from collections in Canada, Europe, Peru, and the United States. The selection covers the full range of Wari elite arts: elaborate textiles, which probably were at the core of Wari value systems; sophisticated ceramics of various styles; exquisite personal ornaments made of precious materials; carved wood containers; and works in stone and other media. The exhibition, the first in North America devoted to the arts of the Wari, was curated and the cataloged edited by Susan E. Bergh, curator of Pre-Columbian and Native North American art at theCleveland Museum of Art."--P.  of cover.
"Shows that precolumbian tectonic forms (especially as found in sculpture and weaving) appear to be an overlooked source, or anticipation, of much of the art of the 20th century. Second part of book deals with artifacts as American art and addresses reception of ancient tectonics in the 20th century. Emphasizes intense relationship that some members of the New York School (particularly Barnett Newman and Adolph Gottlieb) had during 1940s with the aboriginal arts of the North American part of the hemisphere and thus the affinities between their work and the work of the older Torres Garcâia in Montevideo, at the other end of the continent"--Handbook of Latin American Studies, v. 58.
Looks at thirty textiles from the Andes housed in the British Museum, describing their historical, cultural, and environmental significance and their role in political and religious beliefs of the ancient civilization.
Flourishing from A.D. 1 to 700, the Recuay inhabited lands in northern Peru just below the imposing glaciers of the highest mountain chain in the tropics. Thriving on an economy of high-altitude crops and camelid herding, they left behind finely made artworks and grand palatial buildings with an unprecedented aesthetic and a high degree of technical sophistication. In this first in-depth study of these peoples, George Lau situates the Recuay within the great diversification of cultural styles associated with the Early Intermediate Period, provides new and significant evidence to evaluate models of social complexity, and offers fresh theories about life, settlement, art, and cosmology in the high Andes. Lau crafts a nuanced social and historical model in order to evaluate the record of Recuay developments as part of a wider Andean prehistory. He analyzes the rise and decline of Recuay groups as well as their special interactions with the Andean landscape. Their coherence was expressed as shared culture, community, and corporate identity, but Lau also reveals its diversity through time and space in order to challenge the monolithic characterizations of Recuay society pervasive in the literature today. Many of the innovations in Recuay culture, revealed for the first time in this landmark volume, left a lasting impact on Andean history and continue to have relevance today. The author highlights the ways that material things intervened in ancient social and political life, rather than being merely passive reflections of historical change, to show that Recuay public art, exchange, technological innovations, warfare, and religion offer key insights into the emergence of social hierarchy and chiefly leadership and the formation, interaction, and later dissolution of large discrete polities. By presenting Recuay artifacts as fundamentally social in the sense of creating and negotiating relations among persons, places, and things, he recognizes in the complexities of the past an enduring order and intelligence that shape the contours of history.
Stretching for over 5500 miles, and containing the highest active volcanoes in the world, the largest salt flat, the highest lake, and peaks rivalled in size only by the Himalayas, the Andes impress by statistics alone. But beyond the range's sheer immensity is its concentration of radically contrasting scenery and climates. In this remarkable book, Michael Jacobs journeys from the balmy Caribbean to the inhospitable islands of the Tierra del Fuego, through the relics of ancient civilizations, to retrace the footsteps of previous travellers. His route begins in Venezuela, following the path of the great 19th-century revolutionary Simn Bolvar. On his way Jacobs attempts to uncover the stories of those who have shared his fascination, and to reveal the secrets of a region steeped in history, science and myth.
Examining the vivid, often apocalyptic church murals of Peru from the early colonial period through the nineteenth century, Heaven, Hell, and Everything in Between explores the sociopolitical situation represented by the artists who generated these murals for rural parishes. Arguing that the murals were embedded in complex networks of trade, commerce, and the exchange of ideas between the Andes and Europe, Ananda Cohen Suarez also considers the ways in which artists and viewers worked through difficult questions of envisioning sacredness. This study brings to light the fact that, unlike the murals of New Spain, the murals of the Andes possess few direct visual connections to a pre-Columbian painting tradition; the Incas’ preference for abstracted motifs created a problem for visually translating Catholic doctrine to indigenous congregations, as the Spaniards were unable to read Inca visual culture. Nevertheless, as Cohen Suarez demonstrates, colonial murals of the Andes can be seen as a reformulation of a long-standing artistic practice of adorning architectural spaces with images that command power and contemplation. Drawing on extensive secondary and archival sources, including account books from the churches, as well as on colonial Spanish texts, Cohen Suarez urges us to see the murals not merely as decoration or as tools of missionaries but as visual archives of the complex negotiations among empire, communities, and individuals.