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Offers a survey of the paintings and architecture of the Mexican, Mayan, and Andean peoples
La teoria de la cultura que aqui se ofrece es genetica, no en el sentido biologico, sino cuando las culturas se generan unas a otras. Como todo individuo, cualquier cultura es el producto tanto de la herencia de sus ancestros como de su propia adaptacion al medio. El meollo del libro esta en la herencia cultural y en los elementos transmitidos a traves de una larga serie de culturas que se suceden en el tiempo.
"Esta nueva publicación correspondea una larga tradición ininterrumpida de ediciones que el Museo Chileno de Arte Precolombino inició con el Banco O'Higgins, y que su sucesor legal, Banco Santiago, ha continuado, innovando su contenido sustancial y formal. Es destacable esta larga y prolífica colaboración entre dicha empresa bancaria y el Museo: a lo largo de 17 años, ella ha producido igual número de publicaciones, las que conforman un cuerpo imprescindible para el estudio y la difusión del arte precolombino americano. En esta ocasión de la pluma del notable arqueólogo peruano Luis Guillermo Lumbreras, presentamos un artículo sobre el contexto social en que está inserto el arte precolombino americano, ilustrado con objetos de nuestra colecciones. Se incluye también una reseña sobre los ideales que dieron origen al Museo Chileno de Arte Precolombino, su historia y perspectivas futuras."--Page 3.
Perhaps the contributions of South American archaeology to the larger field of world archaeology have been inadequately recognized. If so, this is probably because there have been relatively few archaeologists working in South America outside of Peru and recent advances in knowledge in other parts of the continent are only beginning to enter larger archaeological discourse. Many ideas of and about South American archaeology held by scholars from outside the area are going to change irrevocably with the appearance of the present volume. Not only does the Handbook of South American Archaeology (HSAA) provide immense and broad information about ancient South America, the volume also showcases the contributions made by South Americans to social theory. Moreover, one of the merits of this volume is that about half the authors (30) are South Americans, and the bibliographies in their chapters will be especially useful guides to Spanish and Portuguese literature as well as to the latest research. It is inevitable that the HSAA will be compared with the multi-volume Handbook of South American Indians (HSAI), with its detailed descriptions of indigenous peoples of South America, that was organized and edited by Julian Steward. Although there are heroic archaeological essays in the HSAI, by the likes of Junius Bird, Gordon Willey, John Rowe, and John Murra, Steward states frankly in his introduction to Volume Two that “arch- ology is included by way of background” to the ethnographic chapters.
Rock art in South America is as diverse as the continent itself. In this vast territory, different peoples produced engravings, paintings, and massive earthworks, from the Atacama to the Amazon. These marks on the landscape were made by all different kinds of peoples, from some of the earliest hunter-gatherers in the continent, to the very complex societies within the Inca Empire. This book brings together the work of specialists from throughout the continent, addressing this diversity, as well as the variety of approaches that the Archaeology of rock art has taken in South America. Constructed of eleven thought-provoking chapters and arranged in three thematic sections, the book presents different theoretical approaches that are currently being used to understand the roles rock art played in prehistoric communities. The editors have skillfully crafted a book that presents the contribution the study of South American rock art can offer to the global research of this materiality, both theoretically and methodologically. This book will interest a broad range of scholars researching in archaeology, anthropology, history of art, heritage and conservation, as well as undergraduate and postgraduate students who will find interesting case studies showcasing the diverse ways in which rock art can be approached. Despite its focus on South America, the book is intended as a contribution towards the global study of rock art.
Mary Ellen Miller’s rich visual and scholarly survey of pre-Hispanic art and architecture, including the most recent archaeological finds. Expanded and revised in its sixth edition, The Art of Mesoamerica surveys the artistic achievements of the high pre-Hispanic civilizations of Central America—Olmec, Maya, Teotihuacan, Toltec, and Aztec—as well as those of their lesser-known contemporaries. Providing an in-depth examination of central works, this book guides readers through the most iconic palaces, pyramids, sculptures, and paintings. From the Olmec colossal head 5 recovered from San Lorenzo to the Aztec calendar stone found in Mexico City’s Zocalo in 1790, this book reveals the complexity and innovation behind the art and architecture produced in pre-Hispanic civilizations. This new edition incorporates fifty new lavish color images and extensive updates based on the latest research and dozens of recent discoveries, particularly in Maya art, where excavations at Teotihuacan, the largest city of Mesoamerica, and Tenochtitlan, the capital of the Aztecs, have yielded new sculptures.
The publication of Volume 16 of this distinguished series brings to a close one of the largest research and documentation projects ever undertaken on the Middle American Indians. Since the publication of Volume 1 in 1964, the Handbook of Middle American Indians has provided the most complete information on every aspect of indigenous culture, including natural environment, archaeology, linguistics, social anthropology, physical anthropology, ethnology, and ethnohistory. Culminating this massive project is Volume 16, divided into two parts. Part I, Sources Cited, by Margaret A. L. Harrison, is a listing in alphabetical order of all the bibliographical entries cited in Volumes 1-11. (Volumes 12-15, comprising the Guide to Ethnohistorical Sources, have not been included, because they stand apart in subject matter and contain or constitute independent bibliographical material.) Part II, Location of Artifacts Illustrated, by Marjorie S. Zengel, details the location (at the time of original publication) of the owner of each pre-Columbian American artifact illustrated in Volumes 1-11 of the Handbook, as well as the size and the catalog, accession, and/or inventory number that the owner assigns to the object. The two parts of Volume 16 provide a convenient and useful reference to material found in the earlier volumes. The Handbook of Middle American Indians was assembled and edited at the Middle American Research Institute of Tulane University with the assistance of grants from the National Science Foundation and under the sponsorship of the National Research Council Committee on Latin American Anthropology.