04052nam 2200697 a 450 991081742080332120230126211304.00-292-73572-310.7560/735712(CKB)3170000000046077(OCoLC)785401180(CaPaEBR)ebrary10541113(SSID)ssj0000581996(PQKBManifestationID)11402389(PQKBTitleCode)TC0000581996(PQKBWorkID)10537917(PQKB)10005902(MiAaPQ)EBC3443586(OCoLC)830023576(MdBmJHUP)muse17559(Au-PeEL)EBL3443586(CaPaEBR)ebr10541113(OCoLC)932314200(DE-B1597)588677(OCoLC)1280943210(DE-B1597)9780292735729(EXLCZ)99317000000004607720111013d2012 uy 0engurcn|||||||||txtccrArt, nature, and religion in the central Andes[electronic resource] themes and variations from prehistory to present /Mary Strong1st ed.Austin University of Texas Pressc20121 online resource (369 p.) Joe R. and Teresa Lozano Long series in Latin American and Latin art and cultureBibliographic Level Mode of Issuance: Monograph0-292-73571-5 Includes bibliographical references and index.pt. 1. Themes -- pt. 2. Variations -- pt. 3. Andean arts today.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 "ed in the book.Joe R. and Teresa Lozano Long series in Latin American and Latino art and culture.Indian artAndes RegionIndians of South AmericaAndes RegionReligionIndians of South AmericaAndes RegionHistoryIndians of South AmericaAndes RegionSocial life and customsIndian artIndians of South AmericaReligion.Indians of South AmericaHistory.Indians of South AmericaSocial life and customs.980/.01Strong Mary1947-1665431MiAaPQMiAaPQMiAaPQBOOK9910817420803321Art, nature, and religion in the central Andes4024038UNINA