arh 390 moche iconography a short history. burial ritual - curing practices ?
TRANSCRIPT
PERIOD 1930 – 1960
• Rafael Larco Hoyle - 1938, 1939, 1945, 1966
• Arturo Jimenez Borja - 1938;
• Gerdt Kutscher - 1948, 1951, 1954, 1956
• J. C. Muelle - 1933, 1936
• E. Yacovleff and F. Herrera - 1932, 1934, 1935
… many of the unusual features of the Chavin de Huantar temple becomes more intelligible if we accept the proposition that fear and awe of the supernatural, combined with social sanctions based on religious ideology, produced a degree of coercion later achieved by institutionalized force. (Richard Burger)
The main reason for the diversity in interpretations of Moche iconography is probably because the viewer does not feel alienated by the style of the images.
PERIOD post - 1960
• Gerdt Kutscher – 1958, 1983– First to introduce a method of systematic
analysis to Moche iconography – Need to consider each scene as being part of a
unified and structured corpus
Badminton
PERIOD post - 1960
• Gerdt Kutscher – 1958, 1983
• Danièlle Lavallée – 1970– Identification of animals and composite
subjects
Lavallée
• Three Functions– 1 – Accompany the dead – 2 – Protect the deceased– 3 – Surround the deceased with familiar
representations of their living world
• Two Levels– Natural depictions associated to the physical
world– Non-realist scenes, propitiatory in nature
PERIOD post - 1960
• Gerdt Kutscher – 1958, 1983
• Danièlle Lavallée – 1970
• Elisabeth Benson – 1972 1997– Create ensembles called complexes – Insist on the symbolic nature
1972 The Mochica: A Culture of Peru
1974 A Man and a Feline in Mochica Art
1975 Death-Associated Figures on Mochica Pottery
1984 The Men Who Have Bags in Their Mouths
1985 The Moche Moon
1988 New World Deer-Hunt Rituals
1989 Women in Mochica Art
1991 The Chtonic Canine
1991 Seven Human Figurines
1995 Art, Agriculture, Warfare and the Guano Islands
1997 Moche Art: Myth, History and Rite
2003 Cambios de Temas y Motivos en la Ceramica Moche
1979 Garments as Symbolic Language in Mochica Art
1984 A Moche Spatula
n.d. Iconography Meets Archaeology
1982 The Well-dressed Captives..
1974 Salesmen and Sleeping Warriors in Mochica Art
1978 The Bag with the Ruffled Top..
1982 The Man with the V on his Headdress..
1987 Bats in South American Iconography
1992 The World of Moche
PERIOD post - 1960
• Gerdt Kutscher – 1958, 1983 • Danièlle Lavallée – 1970• Elisabeth Benson – 1972 1997• Yuri E. Berezkin – 1980
– Attempt to create an hierarchy of composite figure based on their frequency in the icono.
– Mention the need to use other documents such as ethnohistoric information
PERIOD post - 1960
• Gerdt Kutscher – 1958, 1983
• Danièlle Lavallée – 1970
• Elisabeth Benson – 1972 1997
• Yuri E. Berezkin – 1980
• Anne-Marie Hocquenghem – 1977 1987– Structuralist approach– Use of Panofsky methodology
HOCQUENGHEM’S 19 THEMES
• 1- the throwing of flowers in the air• 2- the sexual union between a woman and a mythical being• 3- the punishment of women and man in relation to death rituals• 4- the craft production• 5- the hunt of deer and other animals associated with death• 6- the dance of the dead and their association with flies• 7- the running scenes• 8- the offering and the consumption of coca leaves• 9- the scenes of combat and the capture of prisoners• 10- the dances of warriors holding a special rope• 11- the sacrifice• 12- the carrying of sacrificial victims to the guano islands• 13- the preparation of the corpses on the guano islands and the ritual hunt of sea lions• 14- the entrance of the corpses in the world of the dead and its relations with acts of anal
copulation and masturbation (association also with dance with death and deer)• 15- the revolt of the objects• 16- the scene of games• 17- the presentation of cultivated plants and the dances with masks• 18- the passage on a rope bridge• 19- the feast scenes
We interpret Moche iconography with the help of ethnohistoric and ethnographic information on the myths and
rituals from the Inca and post-Inca periods contained in written documents and that cover the Andes, the Pacific
coast and the Amazonian basin. Despite differences in time and space, or in the ecological conditions of these diverse
regions, this method appears to be valid because these diverse cultural areas have always been in regular contact. It is also in the measure that these regions are also constrained
with the same ecological system of alternating dry and humid seasons.
Structuralist vs. Structural Statements
• 1- The diverse representations are not independent from one another
• 2- Each of these scenes are part of a wider context and could be related to more complex scenes.
• 3- These complex representations are in a limited number and have been reproduced a great number of times, in part or in details and in many different artistic forms.
• 4- The internal structure of the iconography is such that a similar logic must account for the totality of the representations and the diverse relation between each of them.
• 5- In consequence the task of the investigator is to attempt to reconstruct the meaning of each of these complex scenes in their totality and in all their details.
PERIOD post - 1960
• Gerdt Kutscher – 1958, 1983
• Danièlle Lavallée – 1970
• Elisabeth Benson – 1972 1997
• Yuri E. Berezkin – 1980
• Anne-Marie Hocquenghem – 1977 1987
• Christopher B. Donnan – 1975 1999
Donnan’s Iconographical Canons:
• scale of the representation and subjects
• relative size in between the same actors in a given scene
• perspective
• depth of field
• pose and action
• sex differentiation
• status
• dignity
• identification of species