South America
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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.,
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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.
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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, PreCeramic, 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.
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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.
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“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.
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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
– 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
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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
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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
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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
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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