A Short overview of Ancient Andean Art
Image 1. The Lanzón Stela at Chavín, still image from a video of a photo-textured point cloud using laser scan data collected by nonprofit CyArk (Wikipedia)
Before we journey to Ancient Peru, it is important to take the time and consider the geographical area of the ancient Andean. These civilizations had to deal with extreme climate diversity as well as topographical challenges – in short distances the temperature could change dramatically form tropical valleys to snow-capped mountains to desert heat; from low laying river-plains to the highest mountains of the Andes; these civilizations had to develop new skills to survive, even more so – to flourish. It is in this diverse environment that the initial small warring states started to form, ensuring long periods of isolation that guaranteed the development of distinctly new cultures, furthermore the development of domesticated animals and new irrigation systems lead to the improvement of various crops that could sustain a larger permanent settlement.
Image 2. The Raimondi Stela from the Chavín Culture, Ancash, Peru. Original uploader was Ghirlandajo. (Wikipedia)
A Warm-up exercise inspired by the Chavin Art: completing the drawing to practice symmetry: The first settlement that we “visited” were Chavin. The Chavin people lived high up in the Andes (10 000 feet above sea), with farming ground on different levels (terraces) for producing various crops as well as different animals, including the Llama, in Cordillera Blanca, Peru. The main cultural complex was the temple, Chavin de Huantar. The temple was started in ca 900 BC, with huge raised platforms constructed from massive blocks of dressed stone. Decorative elements include the typical dualistic symmetry, e.g. the black and white gate with engravings that at first glance seems exactly the symmetrical but upon closer examination illustrates female and male deities. Other decorative characteristics are the almost geometric abstracted faces carved from stone and build into the walls surrounding the sunken plaza and temple complex. We also find beautiful pottery either decorated with visually interesting lines and geometric patterns of different textures or animals. A few examples of their weaving have survived. The textiles, patterned with darker earth tones to illustrate their gods, suggesting narrative aspect to their art, and ritualistic use of the material. This is also true of the gold ornaments, including nose rings, headbands and necklaces.
Next, we visit the Nazca civilization (200 BC to 600) found in the desert on the South coast of Peru. Their principal cultural complexes can be found at Cahuachi and Ventilla. This group consist of small villages spread out over terraces hillsides near irrigated floodplains each with their own chief. Even with the use of irrigation, they had to make use of an extensive trade route to endure – trading as far as the Amazon, this can be seen from the feathers found in the graves. Most of what we know of their cultural practices comes from excavations of tombs. Tombs were built as shafts, 4.5 m deep, lined with mud bricks – containing not only the mummified remains in upright sitting position but also their earthly belongings – that could be revisited. Colourfully decorated textiles and ceramics are characteristic of the Nazca culture. Their favourite colours were maroon, light purple and blue-grey. Pots have a wide variety of forms and are mostly light cream or red background with black outlined patterns or figures. While some images are highly abstract and ornamental, others depict narrative scenes like battles. The most popular subjects depict shellfish, monkeys, condors, mythically transformed creatures especially felines, gods and shamans. However, they are best known for their geoglyphs – large linear designs on the landscape that can only be fully appreciated from the air. Archaeologists believe that these lines where used to point to sacred sites and show people where water could be found. Their exact purpose may never be known but some believe that the lines were made to walk along during religious festivities.
Image 3. Killer Whale, Nazca Culture, pottery, Larco Museum. Lima, Perú by Lyndsayruell (Wikipedia)
Image 4. “The Dog” from the air (Wikipedia)
Class learn about metal sheets: Nazca inspired pewter
In our discussion after the informative talk about Andean art, we found it is interesting to note that similarities can be drawn between the Nazca and the San people (South Africa). Both of these cultures use a form of trans-inducing foods to create art for religious purposes. They use of landscape as part of their art that serves as a pointer for the next generation on where to find food or water. Lastly, both of these cultures have images of transformed mythical creatures in their pictographs.
Our journey will continue to Mochica on the North coast of Peru. Until next time – keep drawing.
Some more Andean art inspired project: Making a clay horse
