South America Earliest art 8800 b.c.e. Time frame of focus: 1500 b.c.e. - 1550 b.c. West South America –Dry Coast, mountains, rain forest –Little Rain.

South America

• Earliest art 8800 b.c.e.

• Time frame of focus: 1500 b.c.e. - 1550 b.c.

• West South America

– Dry Coast, mountains, rain forest

– Little Rain

• Shamanistic, Kingship

• Chavin, Parascas, Nasca, Moche, Tiwanaku, Wari,, Lambayeque, Chimu, Chancay & Inca

• Pottery, Gold, Textiles

• Condors, pumas, Llamas, jaguar, caiman, monkey, macaw, etc.

Worldview• Commonalities

– Huaca: “active interrelations”

– Camay: “create, manifest, infuse with energy”

– Ayni: “two make whole” (reciprocity, male/female)

– Tinku: “two to make a third”

– Pachakuti: embrace “change and flux”

– Ukhu: “interior” that is concealed but important

– Qumpi: preciousness, creativity, lavishness

• Cyclicality

• Sacred places, transference of energy

Chapter 2: Early and Chavin: Lithic Period, 10,000-3,000 b.c.e.

• Mummification –5000 b.c.–Chinchorro,

Chile–Dry–Textiles–Sedge plants

•Valdivia–4000 b.c.e.–Women–Fertility–Ritually killed

Cotton Pre-Ceramic Period 3000-1800 b.c.e.

• 3000 b.c.e.– Melting icecaps /

floods• Textiles• Finger woven• Loom?• Huaca Preita

– Weaving site– Twining– Warp (v)/ weft

(h)• Raptor

– Coiled snake• Hybridity• Ayni: 2 make whole

Great Pyramid at Caral, 2800 b.c.e.

•Earliest pyramid•60’•30 structures•160 acres•Plaster•White, yellow, red

•Platforms•Enlargements

– Shicras; rock fill

Caral Ampitheater

Temple of Crossed Hands, Kotosh, Huanuco (Peru), 2000-1800 b.c.e.,

• 2450 b.c.e.• 2 Adobe mounds• Buried• Protection• Duality

Rock painting of Pregnant Vicunas, Cuchimachay, Peru

• Pre-Ceramic period– 3000-1800

b.c.e.

• S. Peru• Rock Shelters• Hunting camps • Camelids

– Fertility– lifestyle

• Fewer Humans

Rock paintings, Cuchimachay, Peru

Rock paintings, Cuchimachay, Peru

Feline Head, Huaca de los Reyes, Caballo Muerto, Pre-

Ceramic, 1300 b.c.e., • Initial Period

– 1800-800 b.c.e.

– Sedentary– Looms– Fired clay statues– Pink, blue white– U-shaped structures

• Facing mountain (apus)

• Water

–Feline Head• 5’7”• painted

Lanzon Cult Image, Chavin, 900 – 200 b.c.e.

• Shamanistic practices• Spiders, insects, toads

Chavin de Huantar, Callejon de Conchucos, 1100-500 b.c.e.

• Valley

• U-shaped

• East facing

• Stone carvings

• Tenon heads

• White/black granite

Chavin de Huantar, Callejon de Conchucos, 1100-500 b.c.e. Sunken Circular Court Figures

Lanzon Cult Image, Chavin, 900 – 200 b.c.e.• “Great Lance”

– Blade– Farming– Oracle

• Monolith• 15’• Center of Old Temple

– 4 directions– World tree– Chakana

• Chavin Supreme Deity• Rain Forest

– Natural fertility– Entheogens (spirit within / Ukhu)– Twisted Pattern

• Universe Intertwined/Interdependent

• Offerings– Corn beer, water, gold, shell

Tenon Heads, Temple of Chavin de Huantar, 900 – 200 b.c.e.

• Tenon - pegged (100)

• Individualized

• Shamanistic transformation

Black and White Portal Reliefs, Chavin, 900 – 200 b.c.e., • New

Temple

• B/W stone portal

• Duality / Ahni

Black and White Portal Reliefs, Chavin, 900 – 200 b.c.e.,

• Anthropomorphic

• Beaks, fangs, tails, wings

• Male– Hawk

• Female– Vagina

Dentata– Eagle

Raimondi Stela, Chavin, 900

– 200 b.c.e.,

• Staff bearing deity

• Duality within single figure

• 7’• Granite• Upright/

inverted image

Chavin Textiles

• Cloth 3000 b.c.e.• Karwa burial site• Stone carvings at the

site of Chavin de Huantar.

• Staff God:–Clawed hands and feet,–Serpent hair, belt

• Cotton• Brown and pink die• Female figures

–Eyes as breats–Fanged vaginas–Intertwined staffs

Santa Ana Stirrup-spout vessel Chavin, 900-200 b.c.e.

• Incising, burnishing

• Jaguars, humans plants fruit

• Thin walls

• Stirrup = Tinku

• Santa Ana

– Red and black

– Fanged hads

– Pendent iris

Cupisnique

Thick / lip at top

Chapter 3: Paracas and NascaOculate Being, Paracas, 750 b.c.e. and 100 c.e.

• Early Horizon and Early Intermediate Period

• Peak 200-500 c.e.• Paracas and Nasca South Coast• Paracas - “Sand Falling like Rain”• Village Culture• Burial - bundles of textiles• Ceramics• Oculate: Holes for eyes• Fertility cult

– Stuck out tongue– Snakes– 2nd mask

• Repetition, variety, polychrome• Yellow, green, terracotta, white black• “Smudge blackware”• Painted resin• Post-fired painting

Mummy Bundle, Paracas

• Burial– Dry temperatures– Fetal position– Layers of textiles– 5,000 - 29,000

production hours– Nose rings, spondylus

shell necklace, embroidered garments

• Royalty - 7’ of cloth & offerings

• Commoner - cotton cloth, pottery

Embroidered Mantle, Paracas

• Linear Style• 200 b.c.e.• Cotton / wool• Series of outlines• Red green, gold, blue• Negative space part

of image• Columnar• Abstract felines,

birds, snakes, faces• Center - oculate

being• Access spirit realm• Master of the

Animals

Embroidered Mantle, Paracas

• Cotton/wool• Post-linear style• Series of outlines

filled in with color• Up to 19 colors• Recognizable beings• Transformation

Flying Shaman Mantle, Paracas

• 40 types

• Block color style

• Sacred mushroom

• Trance state pinwheel

• Polychrome

• Dynamic movement

Paracas Embroidery Styles

Nasca• Post-Paracas• Chiefdom• No genetic distinction• Similar subject matter and

ceramics• Different technology

– Slip (not post-fired)– Painting on cloth

• Ceramic style– Early naturalism– Later Abstract– Maroon gray and blue-grey

• Goldwork– Chavin, Paracas tradition– Gold/copper– Thin sheets

Nasca CeramicsDouble Spout and

Bridge Vessel • Achira - cactus plant

• Zig-zags

• Contrasting color

• Hand-built

• Slip

• Wheel to shape

Double Spout and Bridge Vessel with Battle Scene, Nasca

Nasca Pottery

Flying Shaman Vessel, Nasca

• Middle Nasca

• Increased design

• Abstraction

• Flying beings

• Feline/Human

• Shamanistic

• Visions

Nasca Geoglyphs• Subtractive

drawings• Dark over light

stones• 130 sq. mi.• Features:

– Point towards Sun Rainy Season

– Direction of Streams

– Connect rivers

• Process– Obseration– Fires

• Purpose– Calendar– Map– Clan– Fertility– Ceremony