Making “Meaning”: Precolumbian Archaeology, Art History, and the Legacy of Terence Grieder最新文献

Mapping Motifs and Techniques: Tracing the Development and Transmission of Cupisnique-style Engraved Head Images 绘制主题与技术:探寻克匹斯尼克风格雕刻头像的发展与传播

Making “Meaning”: Precolumbian Archaeology, Art History, and the Legacy of Terence Grieder Pub Date : 1900-01-01 DOI: 10.52713/aram8873

Yumi Park Huntington

{"title":"Mapping Motifs and Techniques: Tracing the Development and Transmission of Cupisnique-style Engraved Head Images","authors":"Yumi Park Huntington","doi":"10.52713/aram8873","DOIUrl":"https://doi.org/10.52713/aram8873","url":null,"abstract":"Archaeologists have long identified the ceramics of the ancient Chancay, Zaña, Jequetepeque, and Chicama Valleys of Peru as being in the Cupisnique style. Many of these ceramics also exhibit variations of thinly engraved head motifs, which I have previously argued serve as emblems of a unified cultural identity in the region. The appearance and frequency of such post-fired engravings has not previously been specifically quantified or mapped to the specific locations where these objects were unearthed. Through a number of charts, this paper maps the origins of 62 engraved Cupisnique-style vessels, including 30 examples currently held in the collection of the Museo Arqueológico Rafael Larco Herrera, for which archaeological data is available, showing distinct regional differences even within the Cupisnique style and suggesting that it may be possible to trace more precisely the development and dissemination of post-firing engraved motifs, which are still little understood. Beyond just identifying a singular Cupisnique style, then, a more precise mapping of the available archaeological record allows us to trace local developments and transmissions even within a region previously defined only by a single cultural/stylistic identity. Indeed, differences in imagery between sites suggest noteworthy variations in social, economic, and symbolic aspects of each community.","PeriodicalId":151852,"journal":{"name":"Making “Meaning”: Precolumbian Archaeology, Art History, and the Legacy of Terence Grieder","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115029426","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

The Shape of Place: The Lower Pecos Canyonlands as a Chicomoztoc? 地方的形状:下佩科斯峡谷地作为奇科莫兹托克?

Making “Meaning”: Precolumbian Archaeology, Art History, and the Legacy of Terence Grieder Pub Date : 1900-01-01 DOI: 10.52713/pgwg7974

C. Tate

引用次数: 0

The Disembodied Eye in Maya Art and Ritual Practice 玛雅艺术和仪式实践中的无实体之眼

Making “Meaning”: Precolumbian Archaeology, Art History, and the Legacy of Terence Grieder Pub Date : 1900-01-01 DOI: 10.52713/zadg2991

Virginia E. Miller

{"title":"The Disembodied Eye in Maya Art and Ritual Practice","authors":"Virginia E. Miller","doi":"10.52713/zadg2991","DOIUrl":"https://doi.org/10.52713/zadg2991","url":null,"abstract":"The ritual use and display of skulls, digits, and femurs is well documented for the Maya and other Mesoamerican groups. But except for the heart, few sources describe how organs and soft body tissues were curated during the brief time they could have been viable for manipulation or display. Nevertheless, there is rich corpus of art demonstrating that such exhibitions must have taken place. Extruded eyeballs, often with the optic nerve still attached, form part of the iconographic complex of death and the underworld, although rarely on a monumental scale during the Classic period. From the Terminal Classic on, however, images of human sacrifice and its aftermath become more prominent and public. In the northern Maya lowlands, pendant and detached eyeballs are among the motifs represented, as adornments for humans, non-humans and structures. Crania from the Sacred Cenote of Chichén Itzá show evidence of eyeball extraction, suggesting that eyeballs were removed, presumably from sacrificial victims, and manipulated post-mortem. Did the Maya adorn themselves with the eyeballs of their enemies? Throughout Mesoamerica, vision was considered a source of power, which may explain the Classic-era practice of mutilating the face, and especially the eyes, of rulers represented in Maya sculpture and painting.","PeriodicalId":151852,"journal":{"name":"Making “Meaning”: Precolumbian Archaeology, Art History, and the Legacy of Terence Grieder","volume":"99 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122717816","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

Wari and the Huaca del Sol: Max Uhle’s 1899 Textile Collection at Moche, Peru Wari和Huaca del Sol: Max Uhle 1899年在秘鲁Moche的纺织品收藏

Making “Meaning”: Precolumbian Archaeology, Art History, and the Legacy of Terence Grieder Pub Date : 1900-01-01 DOI: 10.52713/qdmz4161

A. Oakland

引用次数: 0

Grieder’s Theory of Symbols in the Discourse of Art History 格里德的艺术史话语中的符号理论

Making “Meaning”: Precolumbian Archaeology, Art History, and the Legacy of Terence Grieder Pub Date : 1900-01-01 DOI: 10.52713/cyid6505

Rex Koontz

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Some Thoughts about Mimbres Pottery and Mortuary Customs 关于混合陶器与殡葬习俗的思考

Making “Meaning”: Precolumbian Archaeology, Art History, and the Legacy of Terence Grieder Pub Date : 1900-01-01 DOI: 10.52713/kwtq9486

H. Shafer

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1492 BCE: A New World of Pre-Columbian Painting 公元前1492年:前哥伦布时期绘画的新世界

Making “Meaning”: Precolumbian Archaeology, Art History, and the Legacy of Terence Grieder Pub Date : 1900-01-01 DOI: 10.52713/ulqy5064

Reinaldo Morales Jr.

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The Lack of “Creativity” in Pre-Columbian Art: The Impact of Terence Grieder’s Early Scholarship on Recent Rock Art Studies 前哥伦布时期艺术缺乏“创造力”:特伦斯·格里德早期学术对近期岩石艺术研究的影响

Making “Meaning”: Precolumbian Archaeology, Art History, and the Legacy of Terence Grieder Pub Date : 1900-01-01 DOI: 10.52713/yvez2354

James Farmer

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引用次数: 0