Overview

As landscape art, the rock art of the central Andes offers clues regarding relationships between ancestor veneration and the negotiation of rights to water. To understand these relationships this book focuses on a large complement of rock art situated in highland Ancash, Peru, (3400 - 4250 m.a.s.l.). Regional survey excavation data from key rock art sites are synthesised to identify diachronic changes in imagery, production techniques and location, and to develop a typology and a spatio-temporal map for the rock art of the region that spans nearly 4,000 years (1800 BCE - CE 1820). These data are paired with 17th century Spanish Colonial accounts to trace back in time when specific, named groups socialised this landscape. A semiotic model, informed by interdisciplinary approaches, is applied to answer questions regarding the agency of these rock art places in socialising the land through establishing ancestral relations to water and rock features.

Full Product Details

Author:   Gordon Ambrosino
Publisher:   BAR Publishing
Imprint:   BAR Publishing
Weight:   1.180kg
ISBN:  

9781407356624

ISBN 10:   1407356623
Pages:   296
Publication Date:   28 February 2020
Audience:   Professional and scholarly ,  Professional & Vocational
Format:   Paperback
Publisher's Status:   Active
Availability:   Available To Order  
We have confirmation that this item is in stock with the supplier. It will be ordered in for you and dispatched immediately.

Table of Contents

"List of Figures List of Tables List of Maps List of Graphs 1. Introduction and Setting Research Problems, Objectives and Questions Highland Landscapes in the Central Andes The Fortaleza Ignimbrite The Ethnohistory of the Cordillera Negra The Visits of Friar Rodrigo Hernández Príncipe (1621-1622) (1658) The Ceremonial Cycles of the Cordillera Negra Archaeology in the Fortaleza Ignimbrite The Excavation Sites Pallauta (3455 m.a.s.l) Hatun Machay (4259 m.a.s.l) Shacsha Machay (4224 m.a.s.l) Diablo Retrato (4087 m.a.s.l) Cosmology, Art, Social Life and Practice in the Ancient Andes The Andean World: Dualism, Reciprocity and Pacha Camac: Embodiment and Animism in the Andes Ancestors, Economy and Politics in the Andes Ceremony and Pilgrimage in the Andes Issues Regarding the Cultural Chronologies of the Central Andes Chapter Summary and Outlook 2. A Semiotic Model for Cultural Landscapes Archaeology and Landscape Research Archaeology and Rock Art Research Rock Art Research in the Central Andes Semiotics in Rock Art and Landscape Research Cultural Semiotics: Ferdinand de Saussure and Charles Sanders Peirce Semiotics in Landscape Archaeology and Rock Art Research Agency Studies and Rock Art Research Modeling Agency: Individuals, Relationships and Objects A Semiotic Model for Rock Art and Cultural Landscapes Firstness: Natural, Physical Realities-Rock, Sky and Water Secondness: Embodied Practices-Identity, Memory and Territory The Construction of Social Landscapes 3. Field Methods and Results Regional Survey of the FI Regional Survey Results Typology Documenting the FI's Rock Art Documentation Results Excavations at the FI Pallauta Hatun Machay Shacsha Machay Diablo Retrato Conclusions: The Occupational Phases of the Fortaleza Ignimbrite 4. Rock Art and the Socialization of Highland Landscapes in the Central Andes A Typology for the Rock Art of the Fortaleza Ignimbrite The Petroglyph Art of the Fortaleza Ignimbrite The Incising Tradition Kiñan Tanka Hatun Machay SH-A-B1 Shacsha Machay, Panel 2 Shacsha Machay, Panel 1 Diablo Retrato, Panel 1 The Gouging Tradition The Gouging Tradition, Style I The Gouging Tradition, Style II The Abrading Tradition The Abrading Tradition, Style I The Abrading Traditon, Style II The Pictograph Art of the Fortaleza Ignimbrite Shacsha Machay Style I SH-A-B2 Shacsha Machay Style II Inca Huangaran Pictograph Style (1500-1200 BCE) Fortaleza Pictograph Style The Hatun Machay Colonial Pictograph Style Rock Art and the Semiotic Construction of the Fortaleza Ignimbrite The Incising Tradition The Gouging Tradition The Abrading Tradition The Fortaleza Pictograph Style Conclusion 5. Discussion: The Semiotic Construction of the Fortaleza Ignimbrite Rock Art and the FI in the Incising Tradition Rock Art and the FI in the Gouging Tradition Rock Art and the FI in the Abrading Tradition Rock Art and the FI in the Fortaleza Pictograph Style Palimpsest Rock Art and the Semiotic Construction of the FI Kiñan Tanka Hatun Machay Shacsha Machay Diablo Retrato 6. Conclusions Outlook for Future Research Appendix A Introduction Hatun Machay Hatun Machay Feature Descriptions Non-geolocated Features of Hatun Machay Shacsha Machay Shacsha Machay Feature Descriptions Cerro Capira Cerro Capira Feature Descriptions Cerro Juamarquin Cerro Juamarquin Feature Descriptions Cerro Allallashpunta Archaeological Features of Cerro Allallashpunta Non-geolocated Features of Cerro Allallashpunta Cerro Incahuangaran Archaeological Features of Cerro Incahuangaran Cerro Currumarca Archaeological Features of Cerro Currumarca Cerro Racpimarca Archaeological Features of Cerro Racpimarca Non-geolocated Features of Cero Racpimarca Cerro Pauranpunta Archaeological Features of Cerro Pauranpunta Non-geolocated Features of Cerro Pauranpunta Cerro Tapiac Archaeological Features of Cerro Tapiac Non-geolocated Features of Cerro Tapiac Full list of geolocated features of the Fortaleza Ignimbrite Appendix B1. Catalogue of Rock Art Images of the Fortaleza Ignimbrite Introduction 1-Horn and 2-Horn Motifs on the FI ""Arc"" Motif ""Wambra Ila"" Bird Motifs ""Bar"" Motif ""Block"" Motif ""Camelids"" Motif ""Church"" Motif ""Circle and Dot"" Motif Cupules ""Face"" Motifs (""Circular Face"", ""Square Face"" and ""V-Face"") ""Monkey"" and ""Feline"" Motifs ""Torso-Less"" Anthropomorph and ""Feet"" Motifs ""Red Blobs"" ""Ring"" Motif ""Shell Head"" Motif ""Snake Emerging From Rock"" Motif ""Serpent"" Appendix B2. Digital, Vector renderings of select rock art images and panels of the Fortaleza Ignimbrite Diablo Retrato Shacsha Machay Hatun Machay Bibliography"

Reviews

{\rtf1\ansi\ansicpg1252\deff0\deflang2057{\fonttbl{\f0\fnil\fcharset0 Calibri;}{\f1\fswiss\fprq2\fcharset0 Calibri;}{\f2\fnil\fcharset0 Verdana;}} \viewkind4\uc1\pard\sa160\sl252\slmult1\f0\fs22 'Gordon Ambrosino offers the most in-depth and methodologically sophisticated study yet produced for a set of important rock art sites in the central Andes, complemented by a rich and illuminating theoretical perspective.' Dr Darryl Wilkinson, Dartmouth College.\par \lquote This research adds new data to the discussion and knowledge of Peruvian rock art.\rquote Dr Andr\'e9s Troncoso, Universidad de Chile.\f1\par \pard\f2\fs17\par }

Author Information

Gordon Ambrosino is a Mellon Postdoctoral Fellow at the Los Angeles County Museum of Art. His research integrates the fields of the anthropology of art, art history, archaeology, and semiotics. It relates to questions regarding the efficacy of art and iconography in constructing social landscapes and in transmitting location-based histories.

Tab Content 6

Author Website:  

Countries Available

All regions