Art History & Archaeology Theses and Dissertations
Permanent URI for this collectionhttp://hdl.handle.net/1903/2744
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Item THE ARCHITECTURAL VESSELS OF THE MOCHE OF PERU (C.E. 200-850): ARCHITECTURE FOR THE AFTERLIFE(2010) Wiersema, Juliet Benham; Pillsbury, Joanne; Venit, Marjorie; Art History and Archaeology; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)This dissertation investigates sculpted representations of ritual architecture produced by the Moche (C.E. 200-850), a complex and socially-stratified society occupying Peru's north coast centuries before the formation of the Inca Empire. My study focuses on a single artifact type--the Moche architectural vessel--a portable fine ware ceramic container with a stirrup-shaped handle and straight spout which supports a miniature modeled building. Moche architectural vessels mimic the form of structures and features identified in full-scale Moche architecture. When discovered archaeologically, these objects accompany elite burials found within or in close proximity to Moche ritual architecture, or huacas. For art historians and archaeologists, these portable artifacts constitute one of the most important sources of data on Moche ritual architecture and as such, permit us a more nuanced understanding of ancient ceremonial structures which have been compromised by centuries of erosion, treasure hunting, and cataclysmic events. While Moche architectural vessels have been considered simple and somewhat generic representations of temples or temple complexes, my study suggests these objects instead relay explicit information about geographically, temporally, or ideologically specific ritual structures. In this dissertation, I propose a practical method for "decoding" these objects and demonstrate that, once deciphered, Moche architectural vessels can elucidate the original form, function, and ideological significance of Moche ceremonial architecture. My research draws upon several disciplines including art history, anthropology, ethnography, and ethnomusicology. Important contributions include the assembly of the first Moche architectural vessel corpus (169 vessels), the creation of a detailed 10-type Moche architectural vessel typology, a new method for visualizing these objects, and the discovery that several vessels are additionally acoustic artifacts. My study presents a new investigative model, applicable to other areas in the ancient Andes and Mesoamerica, where, for millennia, ceramic representations of architecture formed an important part of burial ritual. Moche architectural vessels also engage in a cross-cultural dialogue with architectural representations made for burial by other ancient cultures around the globe, including Han Dynasty China, Middle Kingdom Egypt, Iron Age Italy, Ancient West Mexico, and Aztec Mexico. They also illuminate the rich potential of ceremonial objects made by advanced societies without text-based histories.Item Slithering Serpents and the Afterlives of Stones: The Role of Ornament in Inka-Style Architecture of Cusco, Peru(2005-11-22) Trever, Lisa Senchyshyn; Pillsbury, Joanne; Art History and Archaeology; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)Serpent reliefs and other pre-Hispanic motifs occasionally appear on the façades of early colonial Inka-style masonry buildings in Cusco, the former capital of the Inka empire, although similar carvings are only rarely seen on earlier Inka architecture. This research demonstrates that while some ashlars were reused from pre-Hispanic Inka walls, the reliefs were likely carved during the colonial era. Central to this analysis is the premise that the breakdown of Inka state iconoclasm allowed native masons greater decorative license. The appearance of Andean motifs on houses built for the city's Spanish inhabitants reveals the complexity of early colonial attitudes toward indigenous culture. The carvings provide an opportunity to investigate the shifting meanings of Andean symbols during the early years of the Spanish presence in Peru. Indeed, these motifs, carved after the Inka imperial collapse, have since become iconic of "Inka-ness" and are replicated in Cusco's twentieth-century municipal architecture.Item Iconography and Continuity in West Africa: Calabar Terracottas and the Arts of the Cross River Region of Nigeria/Cameroon(2005-04-18) Slogar, Christopher; Eyo, Ekpo; Art History and Archaeology; Digital Repository at the University of Maryland; University of Maryland (College Park, Md.)Recent archaeological investigations conducted jointly by the Nigerian National Commission for Museums and Monuments and the University of Maryland, under the direction of Ekpo Eyo, yielded a large number of decorated terracotta vessels, headrests, and anthropomorphic figurines at Calabar, Nigeria, which date to the fifth-fifteenth century A.D. The decoration includes a variety of discrete geometric motifs, such as concentric circles, spirals, lozenges, and cruciforms, among others. This iconography is described and compared to information available in historical sources in order to locate the terracottas within the broader narrative of visual culture in the Cross River region. The decoration of the terracottas reveals strong correspondences to modern art production across a variety of media, foreshadowing in particular the ideographic script called nsibidi (or nsibiri), which has been the subject of scholarly interest since the early twentieth century. Calabar gained international prominence in the seventeenth century due to the burgeoning transatlantic slave trade, was later named the seat of the British colonial government in Southern Nigeria, and is today the capital of Cross River State, Nigeria. While the accounts of traders, missionaries, colonial officials, and modern researchers offer much information about Calabar during this time, its earlier history remains largely unknown. Thus, the terracottas offer valuable new insight into the period prior to the initiation of the transatlantic trade and reveal a continuity of artistic traditions that is significantly deeper and more widespread than previously considered.