{"title":"Elementos chavinoides en textiles de Paracas y cerámicas de Nasca","authors":"Uwe Carlson","doi":"10.32873/unl.dc.zea.1258","DOIUrl":null,"url":null,"abstract":"The Chavin culture had after the creation of its own divine image a lasting influence on all subsequent cultures of ancient Peru. The foundations of this image and its variations were particularly visible in the significant influence on the Paracas culture, which emerged at the same time and produced the most remarkable evidence of ancient Peruvian textile art. This not only regarding the specific technical textile aspects, but especially from an iconographic point of view. If the creation of a striking divine image is astonishing, it is even more remarkable that in Paracas a sequence of four different divine images is repeated in all details, which had already been shown several centuries earlier in Chavín. The divine image of Late Paracas, slightly altered, was taken over by the Early Nazca, while Late Nasca was visibly influenced by Tiahuanaco and Huari.","PeriodicalId":213927,"journal":{"name":"Zea Books","volume":"27 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Zea Books","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.32873/unl.dc.zea.1258","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
Abstract
The Chavin culture had after the creation of its own divine image a lasting influence on all subsequent cultures of ancient Peru. The foundations of this image and its variations were particularly visible in the significant influence on the Paracas culture, which emerged at the same time and produced the most remarkable evidence of ancient Peruvian textile art. This not only regarding the specific technical textile aspects, but especially from an iconographic point of view. If the creation of a striking divine image is astonishing, it is even more remarkable that in Paracas a sequence of four different divine images is repeated in all details, which had already been shown several centuries earlier in Chavín. The divine image of Late Paracas, slightly altered, was taken over by the Early Nazca, while Late Nasca was visibly influenced by Tiahuanaco and Huari.