By Donald A. Proulx
For nearly 8 hundred years (100 BC–AD 650) Nasca artists modeled and painted the crops, animals, birds, and fish in their fatherland on Peru’s south coast in addition to a variety of summary anthropomorphic creatures whose shape and that means are often incomprehensible this day. during this first book-length remedy of Nasca ceramic iconography to seem in English, drawing upon an archive of greater than 8 thousand Nasca vessels from over one hundred fifty private and non-private collections, Donald Proulx systematically describes the main inventive motifs of this beautiful polychrome pottery, translates the main issues displayed in this pottery, after which makes use of those descriptions and his stimulating interpretations to research Nasca society.
After starting with an outline of Nasca tradition and a proof of the fashion and chronology of Nasca pottery, Proulx strikes to the center of his ebook: an in depth class and outline of the full variety of supernatural and secular topics in Nasca iconography in addition to a clean and unique interpretation of those issues. Linking the pots and their iconography to the archaeologically identified Nasca society, he ends with a radical and obtainable exam of this historical tradition considered throughout the lens of ceramic iconography. even if those static photographs can by no means be totally understood, through animating their issues and meanings Proulx reconstructs the lifeways of this advanced society
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Additional resources for A Sourcebook of Nasca Ceramic Iconography: Reading a Culture through Its Art
The majority of Robinson’s sites were looted cemeteries, and his report provides little information on habitation sites, thus perpetuating our skewed picture (until recently) of the nature of Nasca settlements. For almost twenty years, from the mid 1960s to the mid 1980s, little fieldwork took place on Nasca sites, save for a sporadic site survey in the Ica Valley undertaken by John Rowe and his students. Analysis of Nasca ceramics, however, was ongoing, especially by Rowe’s students at Berkeley.
Also belatedly, he published an account in English of his discovery of the Nasca style and his chronology for the Ica Valley (Uhle 1914). The physical anthropologist Ales Hrdlicka made two trips to Peru, the first a brief survey in 1910 and the second a three-month tour in 1913, which included visits to sites in the Acarí and Nasca Valleys (Hrdlicka 1911, 1914). Hrdlicka’s objectives were “to determine, as far as possible, the anthropological relation of the mountain people with those of the coast; to make further studies regarding the distribution of the coast type; to determine the type of the important Nasca group of people; and to extend the writer’s researches on Indian and especially Precolumbian pathology” (Hrdlicka 1914: 2).
Phase Y2 was relabeled “Coast Tiahuanacoid” to acknowledge the highland influences dominating the pottery style. Phase Y3 was eliminated, and the few vessels contained in it were reassigned to other phases. Kroeber’s 1956 revision, while useful for its clarification and expansion of shape categories, did not essentially change the major subdivisions of the style: A, X, B, and Y. Its weakness lay in the quantitative method used and the neglect of iconography and design elements as alternative methods for deriving chronology.
A Sourcebook of Nasca Ceramic Iconography: Reading a Culture through Its Art by Donald A. Proulx