South America Earliest art 8800 b c e

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

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/Interdepe ndent Offerings – Corn beer, water, gold,

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. , • Anthropomo rphic • 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 Nasca Oculate 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 – 2 nd 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 Ceramics Double 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

• 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 Nasca Geoglyphs