Art of the Andes
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|Author||: Rebecca Stone|
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.
|Author||: Rebecca Stone|
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."
|Author||: Mary Strong|
|Editor||: University of Texas Press|
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.
|Author||: Barbara Mauldin,Blair Clark|
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.
|Author||: Carol Damian|
|Editor||: Grassfield Press, Incorporated|
"Reconstructs the history of the Virgin of Cuzco who, as a fusion of indigenous Andean and Spanish Christian beliefs and practices, represents both the Virgin Mary and Pachamama. Includes background chapters on Andean and Spanish beliefs and art. Major, mostly original work illuminates multiple aspects of the outlooks of both peoples as reflected in their religious iconography during the colonial period. Magnificently illustrated"--Handbook of Latin American Studies, v. 58.
|Author||: Nando Parrado|
In the first hours there was nothing, no fear or sadness, just a black and perfect silence. Nando Parrado was unconscious for three days before he woke to discover that the plane carrying his rugby team, as well as their family members and supporters, to an exhibition game in Chile had crashed somewhere deep in the Andes. He soon learned that many were dead or dying—among them his own mother and sister. Those who remained were stranded on a lifeless glacier at nearly 12,000 feet above sea level, with no supplies and no means of summoning help. They struggled to endure freezing temperatures, deadly avalanches, and then the devastating news that the search for them had been called off. As time passed and Nando’s thoughts turned increasingly to his father, who he knew must be consumed with grief, Nando resolved that he must get home or die trying. He would challenge the Andes, even though he was certain the effort would kill him, telling himself that even if he failed he would die that much closer to his father. It was a desperate decision, but it was also his only chance. So Nando, an ordinary young man with no disposition for leadership or heroism, led an expedition up the treacherous slopes of a snow-capped mountain and across forty-five miles of frozen wilderness in an attempt to find help. Thirty years after the disaster Nando tells his story with remarkable candor and depth of feeling. Miracle in the Andes—a first person account of the crash and its aftermath—is more than a riveting tale of true-life adventure: it is a revealing look at life at the edge of death and a meditation on the limitless redemptive power of love.
|Author||: Michael Jacobs|
|Editor||: Granta Books|
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.
|Author||: Lynn Meisch,Fine Arts Museums of San Francisco,M.H. de Young Memorial Museum|
|Editor||: Thames & Hudson|
Published in association with the Fine Arts Museums of San Francisco, this book features 18th-, 19th-, and 20th-century indigenous textiles woven by the Aymara and Quechua peoples of the Andean Mountains. The elaborately patterned pieces are all drawn from the previously unpublished Jeffrey Appleby Collection and include everyday and ceremonial textiles of all types. 178 illus. 147 in color.
|Author||: Kim MacQuarrie|
|Editor||: Simon and Schuster|
“A thoughtfully observed travel memoir and history as richly detailed as it is deeply felt” (Kirkus Reviews) of South America, from Butch Cassidy to Che Guevara to cocaine king Pablo Escobar to Charles Darwin, all set in the Andes Mountains. The Andes Mountains are the world’s longest mountain chain, linking most of the countries in South America. Kim MacQuarrie takes us on a historical journey through this unique region, bringing fresh insight and contemporary connections to such fabled characters as Charles Darwin, Che Guevara, Pablo Escobar, Butch Cassidy, Thor Heyerdahl, and others. He describes living on the floating islands of Lake Titcaca. He introduces us to a Patagonian woman who is the last living speaker of her language. We meet the woman who cared for the wounded Che Guevara just before he died, the police officer who captured cocaine king Pablo Escobar, the dancer who hid Shining Path guerrilla Abimael Guzman, and a man whose grandfather witnessed the death of Butch Cassidy. Collectively these stories tell us something about the spirit of South America. What makes South America different from other continents—and what makes the cultures of the Andes different from other cultures found there? How did the capitalism introduced by the Spaniards change South America? Why did Shining Path leader Guzman nearly succeed in his revolutionary quest while Che Guevara in Bolivia was a complete failure in his? “MacQuarrie writes smartly and engagingly and with…enthusiasm about the variety of South America’s life and landscape” (The New York Times Book Review) in Life and Death in the Andes. Based on the author’s own deeply observed travels, “this is a well-written, immersive work that history aficionados, particularly those with an affinity for Latin America, will relish” (Library Journal).
|Author||: Michael A. Malpass|
|Editor||: Cornell University Press|
In Ancient People of the Andes, Michael A. Malpass describes the prehistory of western South America from initial colonization to the Spanish Conquest. All the major cultures of this region, from the Moche to the Inkas, receive thoughtful treatment, from their emergence to their demise or evolution. No South American culture that lived prior to the arrival of Europeans developed a writing system, making archaeology the only way we know about most of the prehispanic societies of the Andes. The earliest Spaniards on the continent provided first-person accounts of the latest of those societies, and, as descendants of the Inkas became literate, they too became a source of information. Both ethnohistory and archaeology have limitations in what they can tell us, but when we are able to use them together they are complementary ways to access knowledge of these fascinating cultures. Malpass focuses on large anthropological themes: why people settled down into agricultural communities, the origins of social inequalities, and the evolution of sociopolitical complexity. Ample illustrations, including eight color plates, visually document sites, societies, and cultural features. Introductory chapters cover archaeological concepts, dating issues, and the region's climate. The subsequent chapters, divided by time period, allow the reader to track changes in specific cultures over time.
|Author||: Sabine MacCormack|
|Editor||: Princeton University Press|
Addressing problems of objectivity and authenticity, Sabine MacCormack reconstructs how Andean religion was understood by the Spanish in light of seventeenth-century European theological and philosophical movements, and by Andean writers trying to find in it antecedents to their new Christian faith.
|Author||: George F. Lau|
|Editor||: University of Iowa Press|
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.
|Author||: Heidi King|
|Editor||: Metropolitan Museum of Art|
Of universal appeal and great beauty, Peruvian featherworking was part of a highly sophisticated textile tradition spanning several thousand years. Although these rare treasures, which include vibrantly colored and detailed garments, headdresses, personal ornaments, and ritual objects, have been admired and collected by connoisseurs for decades, this unusual and exquisite art form has not been much investigated or published. Peruvian Featherworks, a magnificently illustrated publication, is the first in-depth and authoritative review of featherworking traditions in Ancient Peru. Written by seven international experts in the textile arts and archaeology, the texts include a discussion of important recent discoveries, considerations of iconography, and basic technical characteristics of featherworks. Nearly seventy outstanding pieces are discussed, as well as evidence of feather mosaic on textiles and other media in most major Andean cultures, from the Paracas (about 600–100 B.C.) through the Inca (1470–1534).
|Author||: Penelope Dransart,Penny Dransart,Helen Wolfe|
|Editor||: Interlink Publishing Group Incorporated|
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.
|Author||: Ananda Cohen Suarez|
|Editor||: University of Texas Press|
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.
|Author||: Susan E. Bergh,Luis Guillermo Lumbreras,Luis Jaime Castillo|
"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.
|Author||: Jeffrey Quilter|
|Editor||: Duncan Baird Publishers|
Presents a richly illustrated portrait of the rise and fall of various mountain and coastal peoples of the Andes Region, highlighting the imaginative design and craftsmanship of their jewelry, textiles, ceramics, embroidery, and architecture.