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Featuring approximately 145 of the most sumptuous and culturally significant Wari objects from collections in the United States, Peru, and Europe, and published to accompany the first exhibition in North America of their startlingly beautiful art An eminent ancestor of the better-known Inca, the Wari ascended to power in the south-central highlands of Peru in about AD 600, underwent a brief period of incandescently explosive growth, and then, by AD 1000, collapsed. Elite arts and the ideologies that informed them were among the Wari’s most prominent exports. From their capital, one of the largest archaeological sites in South America, they sent their religion along with elaborate objects and textiles out to highland provincial centers hundreds of miles to the north and south, and down into populous Pacific coastal areas to the west. The arts were crucial to the Wari’s political, economic, and religious communications: like other ancient Andean peoples, they did not write. The objects featured here cover the full range of Wari arts: elaborate textiles, which probably were at the core of their value systems; sophisticated ceramics of various styles; exquisite personal ornaments made of gold, silver, shell, or bone and often inlaid with precious materials; carved wood containers; and other works in stone and fiber.
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.
Centuries before the Incas, a number of advanced cultures flourished in the Andes. This beautifully illustrated study examines the rise and fall of these different peoples, and their magnificent legacy of design and craftsmanship. Surviving artifacts show incredible skill and sophistication, from exquisitely detailed textiles, ceramics, and metalwork to spectacular architectural sites. Tracing the connections between symbolism and belief, art, and myth, Treasures of the Andes sets the riches of South America in their historical and regional context and restores an important missing piece in the jigsaw puzzle of the world's great civilizations.
This volume accompanies a major international loan exhibition featuring more than three hundred works of art, many rarely or never before seen in the United States. It traces the development of gold working and other luxury arts in the Americas from antiquity until the arrival of Europeans in the early sixteenth century. Presenting spectacular works from recent excavations in Peru, Colombia, Panama, Costa Rica, Guatemala, and Mexico, this exhibition focuses on specific places and times—crucibles of innovation—where artistic exchange, rivalry, and creativity led to the production of some of the greatest works of art known from the ancient Americas. The book and exhibition explore not only artistic practices but also the historical, cultural, social, and political conditions in which luxury arts were produced and circulated, alongside their religious meanings and ritual functions. Golden Kingdoms creates new understandings of ancient American art through a thematic exploration of indigenous ideas of value and luxury. Central to the book is the idea of the exchange of materials and ideas across regions and across time: works of great value would often be transported over long distances, or passed down over generations, in both cases attracting new audiences and inspiring new artists. The idea of exchange is at the intellectual heart of this volume, researched and written by twenty scholars based in the United States and Latin America.
"Fills a void in the genre. . . . Excellent descriptions and interpretations." --Latin American Antiquity
This book is the first in more than a decade to provide new information on the Chavin phenomenon of ancient Peru. Thought by some to be the "Mother Culture" of ancient Peruvian cultures, Chavin is remarkable for its baroque, sophisticated art style in a variety of media, including finely carved stone monuments, beautifully formed pottery, and magnificent and complex metallurgy. Also, the textiles from Chavin are incredibly innovative, both iconographically and structurally. They, in fact, form the foundation for the later Andean textile evolution. Chapters in this book cover new interpretations of the history of the site of Chavin de Huantar, studies of related cultures, the role of shamanism, and many other topics of interest to specialists and the general reader, alike.