Andean Aesthetics

Informed by Gloria Anzaldúa's and José Carlos Mariátegui's work, as well as by Andean cosmology, Omar Rivera turns to Inka stonework and architecture as an example of a “Cosmological Aesthetics.” He articulates ways of sensing, feeling and remembering that are attuned to an aesthetic of water, earth and light. On this basis, Rivera brings forth a corporeal orientation that can be inhabited by the oppressed, one that withdraws from predominant modern/Western conceptions of the human. By providing an aesthetic analysis of cosmological sensing, Rivera sets the stage for exploring physical dimensions of anti-colonial resistance, and furthers the Latinx and Latin American tradition of anti-colonial and liberatory philosophy. Seeing aesthetic involvements with the cosmos as a source for embodied modes of resistance, Rivera turns to the work of María Lugones and Enrique Dussel in order to make explicit the aesthetic dimensions of their work. Andean Aesthetics and Anticolonial Resistance creates a new dialogue between art historians, artists, and philosophers working on Latin American thought, phenomenology, and hermeneutics. It weaves together a Latin American philosophy that connects pre-Columbian cosmologies with contemporary thinkers. Rivera's original approach introduces us to the living, evolving and aesthetic alternatives to coloniality of power and of knowledge, overhauling current understandings of decolonial theory and opening the tradition in transformative ways.

In the past fifty years, the study of indigenous and pre-Columbian art has evolved from a groundbreaking area of inquiry in the mid-1960s to an established field of research. This period also spans the career of art historian Esther Pasztory. Few scholars have made such a broad and lasting impact as Pasztory, both in terms of our understanding of specific facets of ancient American art as well as in our appreciation of the evolving analytical tendencies related to the broader field of study as it developed and matured. The essays collected in this volume reflect scholarly rigor and new perspectives on ancient American art and are contributed by many of Pasztory’s former students and colleagues. A testament to the sheer breadth of Pasztory's accomplishments, Visual Culture of the Ancient Americas covers a wide range of topics, from Aztec picture-writing to nineteenth-century European scientific illustration of Andean sites in Peru. The essays, written by both established and rising scholars from across the field, focus on three areas: the ancient Andes, including its representation by European explorers and scholars of the nineteenth century; Classic period Mesoamerica and its uses within the cultural heritage debate of the twentieth and twenty-first centuries; and Postclassic Mesoamerica, particularly the deeper and heretofore often hidden meanings of its cultural production. Figures, maps, and color plates demonstrate the vibrancy and continued allure of indigenous artworks from the ancient Americas. “Pre-Columbian art can give more,” Pasztory declares, and the scholars featured here make a compelling case for its incorporation into art theory as a whole. The result is a collection of essays that celebrates Pasztory’s central role in the development of the field of Ancient American visual studies, even as it looks toward the future of the discipline.

In this volume, anthropologists, art historians, fiber artists, and technologists come together to explore the meanings, uses, and fabrication of textiles in Mexico, Guatemala, Ecuador, Peru, and Bolivia from Precolumbian times to the present. Originally published in 1991 by Garland Publishing, the book grew out of a 1987 symposium held in conjunction with the exhibit "Costume as Communication: Ethnographic Costumes and Textiles from Middle America and the Central Andes of South America" at the Haffenreffer Museum of Anthropology, Brown University.

This comprehensive reference offers an authoritative overview of Andean lifeways. It provides valuable historical context, and demonstrates the relevance of learning about the Andes in light of contemporary events and debates. The volume covers the ecology and pre-Columbian history of the region, and addresses key themes such as cosmology, aesthetics, gender and household relations, modes of economic production, exchange, and consumption, postcolonial legacies, identities, political organization and movements, and transnational interconnections. With over 40 essays by expert contributors that highlight the breadth and depth of Andean worlds, this is an essential resource for students and scholars alike.

When Spaniards invaded their realm in 1532, the Incas ruled the largest empire of the pre-Columbian Americas. Just over a century earlier, military campaigns began to extend power across a broad swath of the Andean region, bringing local societies into new relationships with colonists and officials who represented the Inca state. With Cuzco as its capital, the Inca empire encompassed a multitude of peoples of diverse geographic origins and cultural traditions dwelling in the outlying provinces and frontier regions. Bringing together an international group of well-established scholars and emerging researchers, this handbook is dedicated to revealing the origins of this empire, as well as its evolution and aftermath. Chapters break new ground using innovative multidisciplinary research from the areas of archaeology, ethnohistory and art history. The scope of this handbook is comprehensive. It places the century of Inca imperial expansion within a broader historical and archaeological context, and then turns from Inca origins to the imperial political economy and institutions that facilitated expansion. Provincial and frontier case studies explore the negotiation and implementation of state policies and institutions, and their effects on the communities and individuals that made up the bulk of the population. Several chapters describe religious power in the Andes, as well as the special statuses that staffed the state religion, maintained records, served royal households, and produced fine craft goods to support state activities. The Incas did not disappear in 1532, and the volume continues into the Colonial and later periods, exploring not only the effects of the Spanish conquest on the lives of the indigenous populations, but also the cultural continuities and discontinuities. Moving into the present, the volume ends will an overview of the ways in which the image of the Inca and the pre-Columbian past is memorialized and reinterpreted by contemporary Andeans.

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.