Pre-Columbian art refers to the visual arts of indigenous peoples of the Caribbean, North, Central, and South Americas from at least 13,000 BCE to the European conquests starting in the late 15th and early 16th centuries. The Pre-Columbian era continued for a time after these in many places, or had a transitional phase afterwards. Many types of perishable artifacts that were once very common, such as woven textiles, typically have not been preserved, but Precolumbian monumental sculpture, metalwork in gold, pottery, and painting on ceramics, walls, and rocks have survived more frequently.
The first Pre-Columbian art to be widely known in modern times was that of the empires flourishing at the time of European conquest, the Inca and Aztec, some of which was taken back to Europe intact. Gradually art of earlier civilizations that had already collapsed, especially Maya art and Olmec art, became widely known, mostly for their large stone sculpture.
Many Pre-Columbian cultures did not have writing systems, so visual art expressed cosmologies, world views, religion, and philosophy of these cultures, as well as serving as mnemonic devices. Artisans of the Ancient Americas drew upon a wide range of materials (obsidian, gold, spondylus shells), creating objects that included the meanings held to be inherent to the materials.[1] These cultures often derived value from the physical qualities, rather than the imagery, of artworks, prizing aural and tactile features, the quality of workmanship, and the rarity of materials.[1] Various works of art have been discovered large distances from their location of production, indicating that many Pre-Columbian civilizations interacted amongst each other. Many societies used raw materials carried from far away, suggesting difficulty of acquisition as a source of value.[1]
For many of these cultures, the visual arts went beyond physical appearance and served as active extensions of their owners and indices of the divine.[1] As spirituality was very prevalent among pre-columbian cultures, themes of the deities and ritual worship were often the subjects of artwork.
Mesoamerica
The Mesoamerican cultures are generally divided into three periods (see Mesoamerican chronology):
Pre-classic (up to 200 CE)
Classic (ca. 200–900 CE)
Post-classic (ca. 900 to 1580 CE).
The Pre-classic period was dominated by the highly developed Olmec civilization, which flourished around 1200–400 BCE. The Olmecs produced jade figurines, and created heavy-featured, colossal heads, up to 2 meters (6.6ft) high, that still stand mysteriously in the landscape. The Mesoamerican tradition of building large ceremonial centres appears to have begun under the Olmecs.
During the Classic period the dominant civilization was the Maya. Maya royalty commissioned artwork that commemorated their achievements and secured their place in time.[2] Scenes depicting various rituals and historical events are embedded with hieroglyphic text to enable the viewer to identify the important figures, times and places instead of relying upon physical features that could be forgotten over time. The interpretation of the actions represented in the artwork goes hand in hand with understanding the decorative text that is woven into the picture. Unlocking this hieroglyphic text is vital as it removes anonymity and mystery from the scenes and reveals detailed records of those who held power throughout the timeline of the civilization.[2] Like the Mississippian peoples of North America such as the Choctaw and Natchez, the Maya organized themselves into large, agricultural communities. They practised their own forms of hieroglyphic writing and even advanced astronomy. Mayan art consequently focuses on rain, agriculture, and fertility, expressing these images mainly in relief and surface decoration, as well as some sculpture. Glyphs and stylized figures were used to decorate architecture such as the pyramid temple of Chichén Itzá. Murals dating from about 750 CE were discovered when the city of Bonampak was excavated in 1946.
The Post-classic period (10th–12th centuries) was dominated by the Toltecs who made colossal, block-like sculptures such as those employed as free-standing columns at Tula, Mexico. The Mixtecs developed a style of painting known as Mixtec-Puebla, as seen in their murals and codices (manuscripts), in which all available space is covered by flat figures in geometric designs. The Aztec culture in Mexico produced some dramatically expressive artworks, such as the decorated skulls of captives and stone sculpture, of which Tlazolteotl (Woods Bliss Collection, Washington), a goddess in childbirth, is a good example. Aztec art, similar to other Mesoamerican cultures also focused on deity worship and portraying values in their society. In creating their art, Aztecs also were interested in naturalism, as making something life-like better conveyed their message through the artwork. For example, the Eagle Warrior statues are life-sized ceramic sculptures that show this sense of naturalism. The Aztecs believed these eagle warriors showed the value of youthful beauty, this can be seen in the sculpture with the Warriors young and soft features of his face.[3]
Aztec vulture vessel in the Metropolitan Museum of Art. 1200-1521.
South America
[[File:Border Fragment MET h1 1994.35.120.jpg|thumb|Paracas culture border, flying man detail. This is a famous motif from the Paracas Necropolis burial textiles. It dates to 450–175 BCE but is in pristine condition. The field of view is about 10 inches (25.4cm) wide. The Entire textile can be viewed at Metropolitan Museum website]
In the central PeruvianAndes, the Chavín civilization flourished from around 1000 BCE to 300 BCE. The Chavín produced small-scale pottery, often human in shape but with animal features such as bird feet, reptilian eyes, or feline fangs. Representations of jaguar are a common theme in Chavín art. The Chavin culture is also noted for the spectacular murals and carvings found its main religious site of Chavín de Huantar; these works include the Raimondi Stele, the Lanzón, and the Tello Obelisk.
Contemporary with the Chavín was the Paracas culture of the southern coast of Peru, most noted today for their elaborate textiles. These amazing productions, some of which could measure ninety feet long, were primarily used for as burial wraps for Paracas mummy bundles. Paracas art was greatly influenced by the Chavín cult, and the two styles share many common motifs.
On the south coast, the Paracas were immediately succeeded by a flowering of artistic production around the Nazca river valley. The Nazca period is divided into eight ceramic phases, each one depicting increasingly abstract animal and human motifs. These period range from Phase 1, beginning around 200 CE, to Phase 8, which declined in the middle of the eighth century. The Nasca people are most famous for the Nazca Lines, though they are usually regarded as making some of the most beautiful polychrome ceramics in the Andes.
On the north coast, the Moche succeeded the Chavín. The Moche flourished about 100–800 CE, and were among the best artisans of the Pre-Columbian world, producing delightful portrait vases (Moche ware), which, while realistic, are steeped in religious references, the significance of which is now lost. For the Moche, ceramics functioned as a primary way of disseminating information and cultural ideas. The Moche made ceramic vessels that depicted and re-created a plethora of objects: fruits, plants, animals, human portraits, gods, demons, as well as graphic depictions of sexual acts. The Moche are also noted for their metallurgy (such as that found in the tomb of the Lord of Sipán), as well as their architectural prowess, such as the Huaca de la Luna and the Huaca del Sol in the Moche River valley.
Following the decline of the Moche, two large co-existing empires emerged in the Andes region. In the north, the Wari (or Huari) Empire, based in their capital city of the same name. The Wari are noted for their stone architecture and sculpture accomplishments, but their greatest proficiency was ceramic. The Wari produced magnificent large ceramics, many of which depicted images of the Staff God, an important deity in the Andes which during the Wari period had become specifically associated with the Lake Titicaca region on the modern Peru-Bolivia border. Similarly, the Wari's contemporaries of the Tiwanaku empire, also centered around a capital city of the same name, held the Staff God in similar esteem. Tiwanaku's empire began to expand out of Titicaca around 400 BCE, but its "Classic Period" of artistic production and political power occurred between 375 and 700 CE. Tiwanaku is currently known for its magnificent imperial city on the southern side of Lake Titicaca, now in modern-day Bolivia. Especially famous is the Gate of the Sun, which depicts a large image of the Staff God flanked by other religious symbols which may have functioned as a calendar.
Following the decline of the Wari Empire in the late first millennium, the Chimú people, centered out of their capital city of Chimor began to build their empire on the north and central coasts of Peru. The Chimú were preceded by a simple ceramic style known as Sicán (700–900 CE) which became increasingly decorative until it became recognizable as Chimú in the early second millennium. The Chimú produced excellent portrait and decorative works in metal, notably gold but especially silver. The Chimú also are noted for their featherwork, having produced many standards and headdresses made of a variety of tropical feathers which were fashioned into bired and fish designs, both of which were held in high esteem by the Chimú. The Chimú are best known for their magnificent palatial complex of Chan Chan just south of modern-day Trujillo, Peru; now a UNESCOWorld Heritage Site. The Chimú went into decline very quickly due to outside pressures and conquest from the expanding Inca Empire in the mid-15th century.
At the time of the Spanish conquest, the Inca Empire (Tawantinsuyu in Quechua, the "Land of the Four Quarters") was the largest and wealthiest empire in the world, and this was depicted in their art. Most Inca sculpture was melted down by the invading Spanish, so most of what remains today is in the form of architecture, textiles, and ceramics. The Inca valued gold among all other metals, and equated it with the sun god Inti. Some Inca buildings in the capital of Cusco were literally covered in gold, and most contained many gold and silver sculptures. Most art was abstract in nature. Inca ceramics were primarily large vessels covered in geometric designs. Inca tunics and textiles contained similar motifs, often checkerboard patterns reserved for the Inca elite and the Inca army. Today, due to the unpopularity of abstract art and the lack of Inca gold and silver sculpture, the Inca are best known for the architecture – specifically the complex of Machu Picchu just northwest of Cusco. Inca architecture makes use of large stone blocks, each one cut specifically to fit around the other blocks in a wall. These stones were cut with such precision that the Incas did not need to make use of mortar to hold their buildings together. Even without mortar, Inca buildings still stand today; they form many of the foundations for even modern-day buildings in Cusco and the surrounding area. The Incas produced thousand of large stone structures, among them forts, temples, and palaces, even though the Inca Empire lasted for only 95 years.
1 2 3 4 Golden kingdoms: luxury arts in the ancient Americas. Pillsbury, Joanne, Potts, Timothy F.,, Richter, Kim N.,, J. Paul Getty Museum,, Metropolitan Museum of Art (New York, N.Y.),, Getty Research Institute. Los Angeles, CA. 2017-09-26. ISBN9781606065488. OCLC981761498.{{cite book}}: CS1 maint: location missing publisher (link) CS1 maint: others (link)
1 2 Schele, Linda; etal. (2006). The Blood of Kings: Dynasty and Ritual in Maya Art. G. Braziller.
↑ Miller, Mary Ellen (2019), The Art of Mesoamerica, World of Art series, Thames & Hudson. pp. 260–263.
The history of the Americas begins with people migrating to these areas from Asia during the height of an ice age. These groups are generally believed to have been isolated from the people of the "Old World" until the coming of Europeans in the 10th century from Iceland led by Leif Erikson, and in 1492 with the voyages of Christopher Columbus.
In the history of the Americas, the pre-Columbian era spans from the original peopling of the Americas in the Upper Paleolithic to European colonization, which began with Christopher Columbus's voyage of 1492. Usually, the era covers the history of Indigenous cultures until significant influence by Europeans. This may have occurred decades or even centuries after Columbus for certain cultures.
In the history of art, prehistoric art is all art produced in preliterate, prehistorical cultures beginning somewhere in very late geological history, and generally continuing until that culture either develops writing or other methods of record-keeping, or makes significant contact with another culture that has, and that makes some record of major historical events. At this point ancient art begins, for the older literate cultures. The end-date for what is covered by the term thus varies greatly between different parts of the world.
The Moche civilization flourished in northern Peru with its capital near present-day Moche, Trujillo, Peru from about 100 to 700 AD during the Regional Development Epoch. While this issue is the subject of some debate, many scholars contend that the Moche were not politically organized as a monolithic empire or state. Rather, they were likely a group of autonomous polities that shared a common culture, as seen in the rich iconography and monumental architecture that survives today.
Ceramics of Indigenous peoples of the Americas is an art form with at least a 7500-year history in the Americas. Pottery is fired ceramics with clay as a component. Ceramics are used for utilitarian cooking vessels, serving and storage vessels, pipes, funerary urns, censers, musical instruments, ceremonial items, masks, toys, sculptures, and a myriad of other art forms.
Huaco or Guaco is the generic name given in Peru mostly to earthen vessels and other finely made pottery artworks by the indigenous peoples of the Americas found in pre-Columbian sites such as burial locations, sanctuaries, temples and other ancient ruins. Huacos are not mere earthenware but notable pottery specimens linked to ceremonial, religious, artistic or aesthetic uses in central Andean, pre-Columbian civilizations.
The Paracas culture was an Andean society existing between approximately 800 BCE and 100 BCE, with an extensive knowledge of irrigation and water management and that made significant contributions in the textile arts. It was located in what today is the Ica Region of Peru. Most information about the lives of the Paracas people comes from excavations at the large seaside Paracas site on the Paracas Peninsula, first formally investigated in the 1920s by Peruvian archaeologist Julio Tello.
The chakana is a stepped cross motif used by the Inca and pre-incan Andean societies. The most commonly used variation of this symbol used today is made up of an equal-armed cross indicating the cardinal points of the compass and a superimposed square. Chakana means 'bridge', and means 'to cross over' in Quechua. The Andean cross motif appears in pre-contact artifacts such as textiles and ceramics from such cultures as the Chavín, Wari, Ica, and Tiwanaku, but with no particular emphasis and no key or guide to a means of interpretation. The anthropologist Alan Kolata calls the Andean cross the "one of the most ubiquitous, if least understood elements in Tiwanaku iconography". The Andean cross symbol has long cultural tradition spanning 4,000 years up to the Inca empire.
Peruvian territory was inhabited 14,000 years ago by hunters and gatherers. Subsequent developments include the appearance of sedentary communities that developed agriculture and irrigation, and the emergence of complex socio-political hierarchies that created sophisticated civilizations, technology and monumental construction.
Peruvian art has its origin in the Andean civilizations. These civilizations rose in the territory of modern Peru before the arrival of the Spanish.
The present-day Department of Amazonas in Peru, occupying part of the western Amazon basin, carries evidence of human cultures predating the Inca Empire. The presence of the Chachapoya culture and the Wari culture in architectural excavations allow for evidence of multiple civilized presences previous to the conquest of the area by the Incan Empire.
The Larco Museum is a privately owned museum of pre-Columbian art, located in the Pueblo Libre District of Lima, Peru. The museum is housed in an 18th-century vice-royal building. It showcases chronological galleries that provide a thorough overview of 5,000 years of Peruvian pre-Columbian history. It is well known for its gallery of pre-Columbian erotic pottery.
Classic Veracruz culture refers to a cultural area in the north and central areas of the present-day Mexican state of Veracruz, a culture that existed from roughly 100 to 1000 CE, or during the Classic era.
The Andean textile tradition once spanned from the Pre-Columbian to the Colonial era throughout the western coast of South America, but was mainly concentrated in Peru. The arid desert conditions along the coast of Peru have allowed for the preservation of these dyed textiles, which can date to 6000 years old. Many of the surviving textile samples were from funerary bundles, however, these textiles also encompassed a variety of functions. These functions included the use of woven textiles for ceremonial clothing or cloth armor as well as knotted fibers for record-keeping. The textile arts were instrumental in political negotiations, and were used as diplomatic tools that were exchanged between groups. Textiles were also used to communicate wealth, social status, and regional affiliation with others. The cultural emphasis on the textile arts was often based on the believed spiritual and metaphysical qualities of the origins of materials used, as well as cosmological and symbolic messages within the visual appearance of the textiles. Traditionally, the thread used for textiles was spun from indigenous cotton plants, as well as alpaca and llama wool.
Painting in the Americas before European colonization is the Precolumbian painting traditions of the Americas. Painting was a relatively widespread, popular and diverse means of communication and expression for both religious and utilitarian purpose throughout the regions of the Western Hemisphere. During the period before and after European exploration and settlement of the Americas; including North America, Central America, South America and the islands of the Caribbean, the Bahamas, the West Indies, the Antilles, the Lesser Antilles and other island groups, indigenous native cultures produced a wide variety of visual arts, including painting on textiles, hides, rock and cave surfaces, bodies especially faces, ceramics, architectural features including interior murals, wood panels, and other available surfaces. Many of the perishable surfaces, such as woven textiles, typically have not been preserved, but Precolumbian painting on ceramics, walls, and rocks have survived more frequently.
This is a chronological list of significant or pivotal moments in the development of Native American art or the visual arts of the Indigenous peoples of the Americas. Earlier dates, especially before the 18th century, are mostly approximate.
The Andean civilizations were South American complex societies of many indigenous people. They stretched down the spine of the Andes for 4,000 km (2,500 mi) from southern Colombia, to Ecuador and Peru, including the deserts of coastal Peru, to north Chile and northwest Argentina. Archaeologists believe that Andean civilizations first developed on the narrow coastal plain of the Pacific Ocean. The Caral or Norte Chico civilization of coastal Peru is the oldest known civilization in the Americas, dating back to 3500 BCE. Andean civilization is one of the six "pristine" civilizations of the world, created independently and without influence by other civilizations.
The history of human habitation in the Andean region of South America stretches from circa 15,000 BCE to the present day. Stretching for 7,000 km (4,300 mi) long, the region encompasses mountainous, tropical and desert environments. This colonisation and habitation of the region has been affected by its unique geography and climate, leading to the development of unique cultural and socn.
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