Art, nature, and religion in the central Andes : themes and variations from prehistory to present
著者
書誌事項
Art, nature, and religion in the central Andes : themes and variations from prehistory to present
(Joe R. and Teresa Lozano Long series in Latin American and Latino art and culture)
University of Texas Press, 2012
- : cloth
大学図書館所蔵 全2件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Includes bibliographical references ( p. [330]-342) and index
内容説明・目次
内容説明
From prehistory to the present, the Indigenous peoples of the Andes have used a visual symbol system-that is, art-to express their sense of the sacred and its immanence in the natural world. Many visual motifs that originated prior to the Incas still appear in Andean art today, despite the onslaught of cultural disruption that native Andeans have endured over several centuries. Indeed, art has always been a unifying power through which Andeans maintain their spirituality, pride, and culture while resisting the oppression of the dominant society.
In this book, Mary Strong takes a significantly new approach to Andean art that links prehistoric to contemporary forms through an ethnographic understanding of Indigenous Andean culture. In the first part of the book, she provides a broad historical survey of Andean art that explores how Andean religious concepts have been expressed in art and how artists have responded to cultural encounters and impositions, ranging from invasion and conquest to international labor migration and the internet. In the second part, Strong looks at eight contemporary art types-the scissors dance (danza de tijeras), home altars (retablos), carved gourds (mates), ceramics (ceramica), painted boards (tablas), weavings (textiles), tinware (hojalateria), and Huamanga stone carvings (piedra de Huamanga). She includes prehistoric and historic information about each art form, its religious meaning, the natural environment and sociopolitical processes that help to shape its expression, and how it is constructed or performed by today's artists, many of whom are quoted in the book.
目次
Acknowledgments
Introduction
Part I. Themes
Chapter 1. Pre-Columbian Andeans
Chapter 2. Andean Thinking
Part II. Variations
Chapter 3. The Spanish Colonial Period
Chapter 4. Globalization Today
Part III. Andean Arts Today
Chapter 5. The Scissors Dance (Danza de las Tijeras)
Chapter 6. Home Altars (Retablos)
Chapter 7. Carved Gourds (Mates)
Chapter 8. Ceramics (Ceramica)
Chapter 9. Painted Boards (Tablas de Sarhua)
Chapter 10. Weavings (Textiles)
Chapter 11. Tinware (Hojalateria) and Huamanga Stone Carving (Piedra de Huamanga)
Conclusion
Bibliography
Index
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