Vase Recuay (vase) en terre cuite / terracotta / céramique measurant 21 cm (8.3 pouces). Daté de 100 av. JC - 300 ap. JC, il provient de Pérou, est catégorisé comme accroupi, anthropomorphe, féminin / femme / femelle, polychrome, et appartient à la culture Recuay.
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A Recuay painted vessel from the Early Intermediate Period representing of a sexual scene. 400 BC — 300 AD
This is a sculptural ceramic bottle depicting a scene of ancestor worship. Four men standing with their genitals exposed hold a sort of roof that covers th...
Cultura Recuay (200aC - 600 dC) Exhibit in Lima´s Anthropology museum, the best in the city in my opinion.
Jar with Human Figure, Unknown, Peru, Central Coast, 200 BCE–500 CE, Ceramics, Slip-painted ceramic.
Recuay, Pérou, 100 avant - 500 après JC.
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Date: 4th–7th century. Geography: Peru. Culture: Recuay. Medium: Ceramic. Dimensions: H. 6 × W. 5 × D. 5 in. (15.2 × 12.7 × 12.7 cm). Classification: ...
The Fowler’s collections comprise more than 120,000 art and ethnographic and 600,000 archaeological objects representing ancient, traditional, and contemporary cultures of Africa, Native and Latin America, and Asia and the Pacific.
Peru, North-central Highlands. Recuay AD 1-700 LACMA 2010.115.102
Figure with "Moon Animal" Headdress and Llama, Unknown, Peru, North-Central Highlands, Recuay, 1–700 CE, Ceramics, Slip-painted ceramic.
- AKG3727387 Ceramic vessel in the shape of a sitting figure / Recuay culture Pre-Columbian Art, Recuay Culture, Peru, 100 – 500 AD. – Ceramic vessel in the shape of a seated figure. – Burnt clay, painted with red, white and black engobe. 20.2 × 12.5 cm. Inv. 001.01.004 Auch, Musée des Jacobins.
Pre Columbian House Models, Pre Columbian Architectural Models, Pre Columbian Temples, Recuay Houses, Moche Houses, Nasca Houses, Chavin Houses, Calima Houses
Recuay art is under-studied and it is difficult to know the meaning of the wonderfully stylized feline on whose head perches a small passenger that may be a coatimundi, a nosy, busy, racoon-like animal. Elsewhere in Recuay art, felines are shown as virile predators, making it likely that in general they were symbols of leadership. The feline is painted with white and red slips; after firing, a resist application of black pigment was used to create the dotted pattern.
Northern Peru's pottery traditions focus on three-dimensionality, the vessels often modeled into a variety of volumetric forms depicting human figures, fruits, or vegetables and even architecture. The coastal Moche and their highland Recuay neighbors were masters of the modeled form, having explored and perfected this tradition whose origins reach back as much as a thousand years among cultures of the Early Horizon (900 -200 BCE). Recuay pottery is typically thin-walled and made from a kaolin-based clay. Vessels are decorated with negative-resist and positive slip painting as well as an unusual post-fire, resist black organic pigment. The varied resist-painting techniques allowed Recuay artists to create complex design fields on the positive, slip-painted backgrounds. Recuay art, and especially its narrative pottery, features the Andean concepts of dualism and reciprocity as key universal facets. Emphasis was placed on dyads such as male-female, which is aptly expressed by this extraordinary figural bottle. A finely dressed noble woman stands at opposing sides of the four-sided vessel, while a male personage flanks the other two faces. The males pertain to a second dyad of warrior and captive, the latter represented as a trophy head rather than a full figure. The women and warrior cradle ceremonial cups, perhaps "keros" (see WAM 2009.20.91) in their hands; the male figure also clutches a war club in his right hand. His fine clothing and headdress identify him as a member of the ruling class. The iconic face in his headdress recalls depictions of ancestors and cult figures as prime shamanic beings that often adorn the heads of authority figures from earliest times throughout Peru. Considered together, this four-sided figural vessel embodies the Andean ideology of war and sacrifice to ensure the earth's fertility and maintain universal balance. The taking of captives for ritual sacrifice was facilitated by the victor's shamanic power, here implied by the male figure's headdress. As elsewhere in ancient Peru, this ceremonial pageant was a sacred necessity and the responsibility of the nobility. It is reflected in stone sculptures from the Recuay area (the highland Callejón de Huaylas region), which feature small trophy heads and larger male figures carrying clubs, shields, or decapitated heads. The Recuay tradition of public stone sculptures portraying women echoes their depictions on pottery vessels, signaling the importance of female participants in both ritual and political events.
Both of these objects feature a creature known as the "Recuay feline," although it could also refer to a fox, dog, or viscacha (a rodent). Whatever its identity, the prominent crest on its head ties it to the supernatural realm, a connection underlined by the deity head that also appears on the dipper and by the ritual function of snuff tablets, which were used to inhale hallucinogenic snuffs during religious ceremonies.
The Government of Mexico recently returned 37 archaeological pieces to the Peruvian State, the Mexican Culture Ministry has reported. Credit: Mauricio Marat, INAH The objects — from the timeframe between the pre-Columbian era and the viceregal period — were voluntarily handed over or recently confiscated. According to Mexico's National Institute of Anthropology and History (INAH) Director Diego Prieto, the returned pieces —except for a couple of wooden vessels from the viceregal period— are "outstanding examples" of Nazca, Chimu, Inca, Lambayeque, Recuay, and Chancay Cultures' pottery, metallurgy, and textile industries. Credit: Mauricio Marat, INAH Credit: Mauricio Marat, INAH Within this framework, the restitution of archaeological pieces took place on Tuesday during the III Meeting of the Peru-Mexico Strategic Partnership Agreement Council headed by Mexican Foreign Affairs Minister Marcelo Ebrard and his Peruvian counterpart Gustavo Meza-Cuadra. "Despite conflagrations that represent a global stability risk, actions such as the restitution of these invaluable pieces are ‘hope glimmers’ that contribute to diplomacy," Minister Ebrard stated. Source: Andina [January 08, 2020] Labels Americas, Archaeology, Heritage, Mexico, Peru, South America TANN you might also like Newer Post Older Post
