NASCA excelled mostly in its TEXTILES and in a very stylish non-realistic POTTERY making use of many different COLORS. Nasca art expressed its RELIGION in a very RIGOROUS SYSTEM,
which, on one hand, makes it more easily to discern than the MOCHE religious system, but on the other hand, more difficult to relate to NASCA CULTURE, its social organization and everyday life.
After the domination of HUARI, during which art was almost identical to that in Huari itself, VERY DIFFERENT STYLE AROSE, known by the name of THE VALLEY OF ICA, which was GEOMETRIC and devoid of symbolic meaning giving hardly any help in understanding the religion.
TIAHUANCO art in POTTERY and in round and relief STONE SCULPTURE in general had been
very GEOMETRIC and, like NASCA, very formal. Huari art preserved these traits although less stylish. This direct expression of an ABSTRACT RELIGION model, TIAHUANACO HAD IN COMMON with the art of CHAVIN culture.
During the FIRST MILLENNIUM BEFORE JESUS CHRIST, CHAVIN had INFLUENCED the greater part of PERU from the Northern Highlands. Nasca contacts with the Mountains seem to have been very strong in terms of its abstract BELIEFS.
Although Chavin art superficially is rather different from that of Tiahuanaco, it expressed the RELIGIOUS SYSTEM also mostly IN STONE (specially in its CEREMONIAL CENTRE known today as CHAVIN de HUANTAR). Chavin art influenced very much the artistic CENTRE of PARACAS on the South Coast, from which IN its TURN NASCA art is DERIVED.
The FACT that ancient Peruvians, whose political development was so advanced and at the same time the very CONSCIOUSNESS of the DEEPER ABSTRACT IDEAS underlaying their SOCIAL and
POLITICAL ORGANIZATION and its RELIGIOUS JUSTIFICATION and ITS FUNCTIONING
THROUGH TIME, DID NOT LEAVE US ANY CODICES, NOR ANY SCRIPT OF A HIERO-GRAFICAL kind. They were less worried about in its expression of concepts on an intermediate level.
No comments:
Post a Comment