1 / 33

ARH 390 Moche Iconography A short history

ARH 390 Moche Iconography A short history. Burial Ritual - Curing Practices ?. A King - a Priest – an Ancestor – a God ?. PERIOD 1930 – 1960. Rafael Larco Hoyle. I/II. Larco 1948. ? AD. III. IV. V. 700 - 800 AD. 250 - 450 AD. 400 - 700 AD. Larco Museum Pueblo Libre.

wiley
Télécharger la présentation

ARH 390 Moche Iconography A short history

An Image/Link below is provided (as is) to download presentation Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author. Content is provided to you AS IS for your information and personal use only. Download presentation by click this link. While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server. During download, if you can't get a presentation, the file might be deleted by the publisher.

E N D

Presentation Transcript

  1. ARH 390Moche Iconography A short history

  2. Burial Ritual - Curing Practices ?

  3. A King - a Priest – an Ancestor – a God ?

  4. PERIOD 1930 – 1960 • Rafael Larco Hoyle

  5. I/II Larco 1948 ? AD III IV V 700 - 800 AD 250 - 450 AD 400 - 700 AD

  6. Larco Museum Pueblo Libre

  7. PERIOD 1930 – 1960 • Rafael Larco Hoyle - 1938, 1939, 1945, 1966 • Arturo Jimenez Borja - 1938; • Gerdt Kutscher - 1948, 1951, 1954, 1956 • J. C. Muelle - 1933, 1936 • E. Yacovleff and F. Herrera - 1932, 1934, 1935

  8. The main reason for the diversity in interpretations of Moche iconography is probably because the viewer does not feel alienated by the style of the images. … many of the unusual features of the Chavin de Huantar temple becomes more intelligible if we accept the proposition that fear and awe of the supernatural, combined with social sanctions based on religious ideology, produced a degree of coercion later achieved by institutionalized force. (Richard Burger)

  9. Not in Moche Iconography • Agriculture • Domestic activities • Irrigation work • Craft activities

  10. PERIOD post - 1960 • Gerdt Kutscher – 1958, 1983 • First to introduce a method of systematic analysis to Moche iconography • Need to consider each scene as being part of a unified and structured corpus Badminton

  11. PERIOD post - 1960 • Gerdt Kutscher – 1958, 1983 • Danièlle Lavallée– 1970 • Identification of animals and composite subjects

  12. Lavallée • Three Functions • 1 – Accompany the dead • 2 – Protect the deceased • 3 – Surround the deceased with familiar representations of their living world • Two Levels • Natural depictions associated to the physical world • Non-realist scenes, propitiatory in nature

  13. PERIOD post - 1960 • Gerdt Kutscher – 1958, 1983 • Danièlle Lavallée– 1970 • Elisabeth Benson – 1972 1997 • Create ensembles called complexes • Insist on the symbolic nature

  14. 1972 The Mochica: A Culture of Peru 1974 A Man and a Feline in Mochica Art 1974 Salesmen and Sleeping Warriors in Mochica Art 1975 Death-Associated Figures on Mochica Pottery 1978 The Bag with the Ruffled Top.. 1979 Garments as Symbolic Language in Mochica Art 1982 The Well-dressed Captives.. 1982 The Man with the V on his Headdress.. 1984 The Men Who Have Bags in Their Mouths 1984 A Moche Spatula 1985 The Moche Moon 1987 Bats in South American Iconography 1988 New World Deer-Hunt Rituals 1989 Women in Mochica Art 1991 The Chtonic Canine 1991 Seven Human Figurines 1992 The World of Moche 1995 Art, Agriculture, Warfare and the Guano Islands 1997 Moche Art: Myth, History and Rite 2003 Cambios de Temas y Motivos en la Ceramica Moche n.d. Iconography Meets Archaeology

  15. PERIOD post - 1960 • Gerdt Kutscher – 1958, 1983 • Danièlle Lavallée– 1970 • Elisabeth Benson – 1972 1997 • Yuri E. Berezkin– 1980 • Attempt to create an hierarchy of composite figure based on their frequency in the icono. • Mention the need to use other documents such as ethnohistoric information

  16. PERIOD post - 1960 • Gerdt Kutscher – 1958, 1983 • Danièlle Lavallée– 1970 • Elisabeth Benson – 1972 1997 • Yuri E. Berezkin– 1980 • Anne-Marie Hocquenghem – 1977 1987 • Structuralist approach • Use of Panofsky methodology

  17. HOCQUENGHEM’S 19 THEMES • 1- the throwing of flowers in the air • 2- the sexual union between a woman and a mythical being • 3- the punishment of women and man in relation to death rituals • 4- the craft production • 5- the hunt of deer and other animals associated with death • 6- the dance of the dead and their association with flies • 7- the running scenes • 8- the offering and the consumption of coca leaves • 9- the scenes of combat and the capture of prisoners • 10- the dances of warriors holding a special rope • 11- the sacrifice • 12- the carrying of sacrificial victims to the guano islands • 13- the preparation of the corpses on the guano islands and the ritual hunt of sea lions • 14- the entrance of the corpses in the world of the dead and its relations with acts of anal copulation and masturbation (association also with dance with death and deer) • 15- the revolt of the objects • 16- the scene of games • 17- the presentation of cultivated plants and the dances with masks • 18- the passage on a rope bridge • 19- the feast scenes

  18. We interpret Moche iconography with the help of ethnohistoric and ethnographic information on the myths and rituals from the Inca and post-Inca periods contained in written documents and that cover the Andes, the Pacific coast and the Amazonian basin. Despite differences in time and space, or in the ecological conditions of these diverse regions, this method appears to be valid because these diverse cultural areas have always been in regular contact. It is also in the measure that these regions are also constrained with the same ecological system of alternating dry and humid seasons. Structuralist vs. Structural Statements

  19. 1- The diverse representations are not independent from one another • 2- Each of these scenes are part of a wider context and could be related to more complex scenes. • 3- These complex representations are in a limited number and have been reproduced a great number of times, in part or in details and in many different artistic forms. • 4- The internal structure of the iconography is such that a similar logic must account for the totality of the representations and the diverse relation between each of them. • 5- In consequence the task of the investigator is to attempt to reconstruct the meaning of each of these complex scenes in their totality and in all their details.

  20. PERIOD post - 1960 • Gerdt Kutscher – 1958, 1983 • Danièlle Lavallée– 1970 • Elisabeth Benson – 1972 1997 • Yuri E. Berezkin– 1980 • Anne-Marie Hocquenghem – 1977 1987 • Christopher B. Donnan– 1975 1999

  21. Donnan’s Iconographical Canons: • scale of the representation and subjects • relative size in between the same actors in a given scene • perspective • depth of field • pose and action • sex differentiation • status • dignity • identification of species

  22. Presentation ThemeSacrifice CeremonyBlood Ceremony

  23. Presentation Theme or Sacrifice Ceremony

  24. El Tuno, E. Calderon

  25. Badminton Player Donnan 1985 Huaca del Sol

  26. Individual A Alva and Donnan 1993 Tomb 1 - Sipán A

  27. Individual B Alva and Donnan 1993 Tomb 2 - Sipán B

  28. Individual D Bourget 2003 Tomb 3 - Sipán D

  29. Individual C Donnan and Castillo 1994 San José de Moro C

  30. PERIOD post - 1960 • Gerdt Kutscher – 1958, 1983 • Danièlle Lavallée– 1970 • Elisabeth Benson – 1972 1997 • Yuri E. Berezkin– 1980 • Anne-Marie Hocquenghem – 1977 1987 • Christopher B. Donnan– 1975 1999 • Daniel Arsenault 1994 • Luis Jaime Castillo 1992

More Related