Grieder describes the phases of development and the symbolism of the previously little-known Recuay style of pottery and attributes many works to individuals, illuminating the role of artists and their relations with their patrons. This collection of several hundred works of art found together and dated by radiocarbon, related to a stratigraphic sequence for the site as a whole, makes possible a unique history of the art of this highland Andean region. A third offering of broken ritual vessels was placed in the earth fill just before the temple floor was built. The images in this offering represented the theology of a shamanistic religion. Beneath the doorway to the temple chamber above the tomb a second offering was placed, composed of vessels modeled as jaguars, snakes, and dragonlike combinations of the two, with other fine pottery, unfired clay bowls, and stone bowls. Decorated pottery also accompanied the body. Near the body were placed about fifty large gold pins with elaborately sculptured heads, the most important set of Peruvian metalwork scientifically recorded in context. ![]() Three separate offerings were put in place during the construction of the funerary temple above the tomb. 500 the flexed body of an aristocrat was wrapped in cloth and set in a small tomb sealed by a heavy stone. The tomb and its offerings unearthed at Pashash, in the northern Andes, provide new perspectives on the cultural meaning of Andean funerary treasure.Ībout A.D. The Art and Archaeology of Pashash is an account of the discovery and excavation of one of the richest Pre-Columbian burials ever scientifically excavated in Peru. ![]() Among the vast treasures discovered in Peru since its conquest by Pizarro, only a small fraction has been excavated scientifically.
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