normatividad en la configuración espacial

Their attributes and spatial organization rather points to their status as ritual practitioners, or at least divinity impersonators, following Janusek's (2006) suggestion. [ Links ], Iriarte, I., 1998. [...] Tenían creído que el Pachayacháchic había dado al Sol virtud para criar todas la comidas juntamente con la Tierra, de donde nació tenerlo por la mayor Guaca de todas después del Viracocha; y así le llamaban Apu-Inti, que quiere decir "el Señor Sol": pintábanlo en su imaginación como si fuera hombre, y consiguientemente decían que la Luna era su mujer y las estrellas hijas de entrambos. Figure 15. 307-351. 17a). A Review of Stone Carved Imagery and Staff Gods, Configuración Espacial en el Arte Tiwanaku. [ Links ], Janusek, J., 2004a. [ Links ], Murra, J., 2004. The Pañamarca scene painted on a Moche mural on the North coast of Peru, now destroyed, is another example of a similar scenic configuration to that from Tiwanaku in which an underlying high status central personage is flanked by subsidiary attendants (fig. 14). Figure 4. [ Links ], Protzen, J.-P. & S. Nair, 2013. [ Links ], Ponce-Sanginés, C., 1981 [1972]. For Bandy (2013: 144-145), the various zoomorphic or geometrical motifs in Tiwanaku art, such as the "rays" surrounding the faces of various central personages, are "direction indicators" that "may perhaps be generally interpreted as representing dynamic flows of energy, something akin to the Quechua concept of sami". Royal Statues, Staff Gods, and the Religious Ideology of the Prehistoric State of Tiwanaku. Unfortunately, no textiles have been found at Tiwanaku given that environmental conditions in the highlands are not particularly conducive for organic preservation. While most studies focus on calendar interpretations, others have considered the imagery using a political and social perspective (e. g., Berenguer 1998). Lima: Instituto de Estudios Peruanos. Staff Gods, as argued here, are probably one of the most enduring factoids in Andean studies. Tiahuanaco, the Cradle of the American Man (Vol. Dibujo de una pintura mural de Pañamarca (adaptado de Donnan 1979: 415, fig. The pedestal attribute also legitimizes the power relation between central and attendant personages (Cook 1983: 179, 1994; Goldstein 1993: 24-25). In this context, that the attendant figures are placed opposite to the central personage, in and of itself, is not indicative of these images as not being scenes. In Andean Art at Dumbarton Oaks, E. H. Boone, Ed., pp. Identified differences included matters of visual perspective, representation of depth, directionality of the images, as well as the spatial organization of the personages. Washington D. C.: Dumbarton Oaks Pre-Columbian Symposia and Colloquia Series. Arguments supporting a scenic interpretation have been advanced in recent years. I-II). An appropriate point of entry to our discussion is the reported absence of scenes within Tiwanaku stone carved imagery, a fact noted in other studies (e. g., Posnansky 1945; Kubler 1984; Makowski 2001a, 2009). Pérou et Bolivie. en poner a disposición del público esta herramienta. Figura 15. Axiality, space, and the partition of space, were central to Tiwanaku thinking and defined its agency-based architecture and urban planning. In fact, the imagery appears to follow a basic equidistant grid. Estudiante de Doctorado en Geografía, Geografía del Transporte, IGAC-UPTC, Bogotá. Photo: M. Viau-Courville). Foto: M. Viau-Courville). The Art and Architecture of Ancient America. Washington, D. C.: Smithsonian Institution. E-mail: El Programa Regional de Cambio Climático de USAID brinda asistencia técnica a los países de Centroamérica There is nothing particularly specific to the Gateway image in the texts. Form and meaning in Chavín art. Both the Bennett and Ponce Monoliths include attendant personages facing away from the central personage. Figure 6. Map of the southeastern shore of Lake Titicaca showing the location of Tiwanaku and La Paz. Tiahuanaco Tapestry Tunics and Mantles from San Pedro de Atacama, Chile. 15c; Museo Nacional de Arqueología, Antropología e Historia del Perú, Lima); b) Escena Recuay con personaje central y asistentes (tomado de Eisleb 1987: lámina en color IV, N° 175). 731-759. [ Links ], Bellamy, H. S. & P. Allan, 1959. All rights reserved. [ Links ], Yoffee, N., 2005. In Andean Archaeology, H. Silverman, Ed., pp. The Thematic Approach to Moche Iconography. 126-149. In Investigations of the Andean Past: First Annual Northeast Conference on Andean Archaeology and Ethnohistory, D. H. Sandweiss, Ed., pp. Spatial Configuration in Tiwanaku Art. [ Links ], Golte, J., 1994. This interpretation also implied that the central "Staff God" personage was the representation of a real individual shown while performing a religious act and not a representation of a supernatural entity, i. e., not a case of divine anthropomorphism in Andean art. 4). Historia del Nuevo Mundo (Tomo III). Lima: Fondo Editorial PUCP/University of Varsovia. London: Routledge. Iowa City: University of Iowa Press. 72-103. de los sistemas de información de cobeneficios, entre otras áreas de interés particular de los países. [ Links ], Torres, C. M. & D. Torres, 2014. Both their studies focused on woven imagery. Art and Moche Martial Arts. This partly explains the variability in the staff attribute being interpreted throughout the literature as flutes (Iriarte 1998), snakes/serpents (Rivero & Tschudi 1851: 296; Squier 1877: 290; O'Connor-d'Arlach 1910: 719; Demarest 1981: 58), lightning (Mitre 1954: 77), or sceptres representing the "power in both hands" (Valcárcel 1959: 3). Rollout drawing of the Bennett Monolith (adapted from Posnansky 1945). [ Links ], Janusek, J., 2006. The motifs carved on the Gateway of the Sun have been interpreted as forming a celestial calendar divided in twelve months (Posnansky 1945; Makowski 2001a; Benitez 2006, 2009; Isbell 2008). The Moche Revolt of the Objects. Unpublished PhD thesis, University of Chicago. Fragment from Conchopata with "Staff God" personage (Museo Histórico Regional Ayacucho, Peru. Figura 7. Ritual y narración en la iconografía Mochica. en materia forestal y bioestadística. Tiwanaku and its precursors: Recent research and emerging perspectives. Basalt block (46.5 cm x 16.3 cm) excavated at the Semi-Subterranean Temple with “Staff God” personages (Museo Lítico de Tiwanaku. & C. Stanish (Eds. 15). In Tiwanaku: Aproximaciones a sus contextos históricos y sociales, M. Rivera & A. Kolata, Eds., pp. Foto: M. Viau-Courville). 16). Ñawpa Pacha 2: 1-10. y el Caribe. [ Links ], Meddens, F.; K. Willis, C. McEwan & N. Branch, 2014. For instance, comparisons can be made between some staff attributes and Peruvian throwing sticks published by Uhle in 1909 (fig. Gómez L Additional Document Info start page . 101-114. Cambridge, MA: Cambridge University Press. Leipzig: Karl W. Hiesermann. Boletín de Arqueología PUCP 5: 337-374. Conklin discussed what he felt was the correct orientation and viewpoint of the designer/weaver. Latin American Antiquity 1 (1): 42-65. Buddhism, Religion, and the Concept of 'God'. In Tiwanaku: Ancestors of the Inca, M. Young-Sánchez, Ed., pp. New York: Springer. 6). However, while perhaps applying a different pictorial convention, the overall elements in the imagery shows consistency with the means by which different anthropomorphs are organized in some Moche, and even Recuay scenes that date to the Early Intermediate Period (AD 1-700). Zeitschrift für Archäeologie Aussereuropäischer Kulturen 1: 183-250. Cambridge, MA: Cambridge University Press. La configuración electrónica de los elementos se rige según el diagrama de Moeller: Para comprender el diagrama de [ Links ], Kolata, A., 2003. Denver, CO: Denver Art Museum. World Archaeology 38 (2): 469-492. Also comparable to throwing sticks are the "staffs" of some Moche personages (fig.

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