By Donald A. Proulx
For nearly 8 hundred years (100 BC–AD 650) Nasca artists modeled and painted the vegetation, animals, birds, and fish in their place of origin on Peru’s south coast in addition to a number of summary anthropomorphic creatures whose shape and that means are often incomprehensible this day. during this first book-length therapy of Nasca ceramic iconography to seem in English, drawing upon an archive of greater than 8 thousand Nasca vessels from over a hundred and fifty private and non-private collections, Donald Proulx systematically describes the most important creative motifs of this beautiful polychrome pottery, translates the key subject matters displayed in this pottery, after which makes use of those descriptions and his stimulating interpretations to research Nasca society.
After starting with an summary of Nasca tradition and a proof of the fashion and chronology of Nasca pottery, Proulx strikes to the guts of his ebook: an in depth class and outline of the total diversity of supernatural and secular issues in Nasca iconography in addition to a clean and detailed interpretation of those subject matters. Linking the pots and their iconography to the archaeologically identified Nasca society, he ends with an intensive and available exam of this old tradition considered in the course of the lens of ceramic iconography. even supposing those static photos can by no means be totally understood, by way of animating their topics and meanings Proulx reconstructs the lifeways of this complicated society
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Extra resources for A Sourcebook of Nasca Ceramic Iconography: Reading a Culture through Its Art
Slightly later authors illustrated artifacts from obviously different cultures, but these were simply described as Inca pieces coming from specific locations, such as Recuay, Trujillo, Chimbote, and the like (for example, Wiener 1880). Max Uhle, considered by many the “Father of Peruvian Archaeology,” was the first to develop a relative chronology for the pre-Inca cultures of the Peruvian coast. As Rowe (1954: 20) points out, Uhle was familiar with the stratigraphic method derived from geology and paleontology then being applied by archaeologists and was the first to use this technique effectively in Peru during his excavations at Pachacamac (Uhle 1902, 1903).
The first known Nasca pottery to be brought to Europe was collected in 1842 by a Frenchman, Captain François Joseph Amedée de Campe de Rosamel (1809–1853) during a trip around the world aboard the ship La Danaïde (Hamy 1898: 596). Five Nasca vessels were included among the Peruvian pottery brought back to France and deposited in the Provincial Museum at Boulogne-sur-Mer in that same year. These escaped notice by the scholarly community until they were described by Jules Hamy in 1898. Three vessels in the collection of Dr.
Although Hrdlicka’s research added little information on Nasca ceramics, it did provide valuable insights into the form and variety of Nasca graves, the amount of looting in the area, and the range of grave goods being extracted by huaqueros. He was among the first to describe important Acarí Valley sites such as Chaviña and Tambo Viejo. He also contributed valuable information on Nasca practices of skull deformation and trephination. After Uhle’s departure from Peru in 1912, scientific archaeology continued in different hands.
A Sourcebook of Nasca Ceramic Iconography: Reading a Culture through Its Art by Donald A. Proulx