A Sourcebook of Nasca Ceramic Iconography: Reading a Culture through Its Art

A Sourcebook of Nasca Ceramic Iconography: Reading a Culture through Its Art . themes based on an identification of recurring motifs in the ceramic art.
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William Morgan Featured Book. Beyond the Nasca Lines: This is the first comprehensive cultural history for the Nasca Drainage from the first settlers to the arrival of the Spanish conquistadors.

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Reading a Culture through Its Art Inhabited for over 5, years before European colonization, the site of La Tiza provides an unprecedented opportunity to examine the dynamics of ancient complex societies. Although famous for the ancient geoglyphs created by the Nasca culture AD — , many societies--from hunters and gatherers of the Preceramic to the Inca empire--thrived in the Nasca Desert of Peru.

In this volume, Christina Conlee documents the cyclical rise and fall of societies in the region, with particular focus on the development of the Nasca culture, its subsequent conquest by the Wari state, followed by collapse and abandonment, and then the establishment of a new society in the Late Intermediate Period. Factors affecting these transformations included the organization of kinship groups, shifts in subsistence strategies, influxes of immigrants and new ideas, religious movements, climate change, trade and social networks, and external imperial policies.

Conlee synthesizes data she obtained while directing a multi-year excavation at the site with data from other investigations to reconstruct the development of social complexity over time. She includes detailed descriptions of the stratigraphy and artifacts, carefully separating materials from each period.

Exploring how political integration, religious practices, economics, and the environment shaped societal changes at La Tiza, Conlee offers patterns that can be found in other areas and can be used to understand the development of long-lasting civilizations.

Double spout and bridge capped jar. All frogs have three stripes on their backs. Carmichael; with an afterword by Katharina J. For further reading see Donald A. Roll-out drawing by Garth Denning. Nasca people depended for subsistence on an array of domestic crops grown in narrow, fertile river valleys, combined with the rich marine resources of coastal littoral and deep-sea fishing. Three superimposed bands of repeated motifs encircle this vessel featuring creatures that inhabit the watery realm.

On top a row of fish is painted on a black background that may equate with the dark underwater world, night and primordial time. A central band contains tadpoles and beneath this is a row of frogs. When the vessel is inverted to discharge the liquid the hierarchy is reversed, matching more closely the order observable in the natural world - the sea creatures of the ocean are on the bottom, while in the middle are the tadpoles that will eventually metamorphose into amphibious frogs that can venture on to the upper terrestrial world. Playing with such inversions is apparent elsewhere in Nasca iconography in which the visual logic communicates fundamental contrasts between day and night and between wet and dry seasons.

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These rhythms shape the hunting and feeding patterns of different creatures as well as their breeding and migratory habits. All were integrated into the closely observed ecological cosmology portrayed in Nasca art.

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Use image Request new photography. British Museum collection data is also available in the W3C open data standard, RDF, allowing it to join and relate to a growing body of linked data published by organisations around the world.