|
|
|
|
Nazca culture
|
| |
|
| |
The Nasca culture (alternatively spelled Nazca when referring to the geogaphical region; the term Nasca refers to the archaeological culture (Silverman,1994)) flourished from the first to eighth centuries AD beside the dry southern coast of Peru in the river valleys of the Rio Grande de Nazca drainage and the Ica Valley (Silverman and Proulx, 2002). Having been heavily influenced by the preceding Paracas culture, which was known for extremely complex textiles, the Nasca produced an array of beautiful crafts and technologies such as ceramics, textiles, and geoglyphs (most commonly known as the Nazca lines).
Discussion
Ask a question about 'Nazca culture' Start a new discussion about 'Nazca culture' Answer questions from other users |
Encyclopedia
The Nasca culture (alternatively spelled Nazca when referring to the geogaphical region; the term Nasca refers to the archaeological culture (Silverman,1994)) flourished from the first to eighth centuries AD beside the dry southern coast of Peru in the river valleys of the Rio Grande de Nazca drainage and the Ica Valley (Silverman and Proulx, 2002). Having been heavily influenced by the preceding Paracas culture, which was known for extremely complex textiles, the Nasca produced an array of beautiful crafts and technologies such as ceramics, textiles, and geoglyphs (most commonly known as the Nazca lines). They also built an impressive system of underground aqueducts, known as puquios, that still function today.
Society
Time Frame
Nasca society developed during the Early Intermediate Period and is generally divided into the Proto Nasca (phase 1,100 B.C. – A.D. 1), the Early Nazca (phases 2-4, A.D. 1-450), Middle Nasca (phase 5, A.D. 450-550) and Late Nasca (phases 6-7, A.D. 550-750) cultures (Vaughn, 2006).
Social Structure
Early Nasca society was made up of local chiefdoms and regional centers of power centered around Cahuachi, a non-urban ceremonial site of mounds and plazas (Valdez, 1994). Theories resulting from various excavations at Cahuachi suggest that the site was home to rituals and feasting relating to agriculture, water, and fertility. This may have been as a result of environmental deterioration, the eventual collapse of the center may have also been a result of that decline (Valdez, 1994). Cahuachi lies in the lower portion of the Nazca Valley and was initially occupied during the late Paracas phase. It is entirely unique from all other Nasca sites in the region and it is definitely the most important site concerning the study of ancient Nasca culture (Valdez, 1995). It is a site of natural huacas (hills) that were modified by the people into pyramid mounds. Excavations at Cahuachi have given archaeologists key insights into the culture. The material remains found at the site included large amounts of polychrome pottery, evidence of maize, squash, bean and peanuts, as well as some fish, plain and fancy textiles, trace amounts of gold and spondylus shell, and an array of ritual paraphernalia. The remains of pottery found at Cahuachi led archaeologists to believe that the site was specifically non-urban and ceremonial in nature. The ratio of plain, utilitarian pottery to fine, polychrome pottery was 30% to 70% (Silverman, 1988). If it was an urban center, for example, the amount of utilitarian ceramics would have probably been higher. Construction at Cahuachi ceased and it appears as though the site was abandoned at the very end of Nasca 3/early Nasca 4. Although there are many possible reasons for the collapse of Cahuachi, the peak and cessation of ceremonial use of the site is most commonly associated with the the pan-Andean drought (Valdez, 1994). Later (post-Cahuachi) Nasca society was structured in a similar fashion as it had been before, but less of an emphasis was made in constructing large architectural complexes like those at Cahuachi (Silverman and Proulx, 2002)
Religion
No doubt due to the extreme nature of the surrounding environment, much of Nasca religious beliefs centered around agriculture and fertility. Much of Nasca art depicts powerful nature gods such as the mythical killer whale, the harvesters, the mythical spotted cat, the serpentine creature, and the most prevalent of worshiped figures, the anthropomorphic mythical being. Much like the contemporary Moche culture, Shamans apparently used hallucinogenic drugs, such as extractions from the San Pedro cactus, to induce visions. The use of such substances is also depicted in art found on pottery related to the Nasca (Silverman and Proulx, 2002). Religions events and ceremonies took place at the center of Nasca society, in Cahuachi. These ceremonies took place to worship the nature gods to aid in the growth of agriculture and water. During this time, all members of the society in surrounding villages would migrate to the center and participate in feasting as well. Non-elites could obtain highly valued goods such as fancy polychrome pottery through feasting. In exchange, the elites could enhance their political power and status while opting the commoners into labor and construction of the site (Silverman, 1988).
Ritual Practices: Decapitation and Trophy Heads
The debate over the purpose of trophy heads continues to this day; were they trophies of war or objects of ritual? It is difficult to tell exactly what the purpose of these heads was. Visual depictions of decapitations often associate the decapitators with weapons and military-like dress, but these types of garments could have been worn in purely ceremonial circumstances as well (DeLeonardis, 2000). The term 'trophy head' was coined by Archaeologist Max Uhle, who considered the depiction of severed heads in ancient Peruvian art to correspond to trophies of warfare (Silverman and Proulx, 2002). They were also considered trophy objects due to the fact that they all had one modification in common- a hole in the forehead through which a rope can be affixed presumably so that the severed head can be displayed or carried (Browne, Silverman, and Garcia, 1993). Many burials of Nasca individuals are what is known as 'partial burials'. Partial burials typically include bundles of limbs, caches of severed heads, or bodies that are missing several parts (DeLeonardis, 2000). Several burials have been discovered in which the head of the skeleton is missing and is replaced with what is most commonly referred to as a 'head jar'. The head jar is a ceramic vessel with a human head painted on it, along with trees and plants sprouting from the head. The Middle Nasca period experienced a dramatic increase of the number of severed heads found, and the numbers seem to taper off in the late Nasca period although the practice remains a popular one in this period (DeLeonardis, 2000).Late Nasca iconography suggests that the prestige of the leaders of Late Nasca society was enhanced by successful head-hunting (Browne, Silverman, and Garcia, 2003).
Arts and Technology
Pottery
The Nasca culture is characterized by its beautiful polychrome pottery painted with at least 15 distinct colors. The shift from post-fire resin painting to pre-fire slip painting marked the end of Paracas style pottery and the beginning of Nasca style pottery. The use of pre-fire slip painting meant that a great deal of experimentation took place in order to know which slips produced certain colors. Major pottery shapes include double-spout bottles, bowls, cups, vases and effigy forms. Archaeologists have excavated highly valued polychrome pottery in all classes of Nasca society, illustrating that it was not just the elite that had access to them. Commoners were able to obtain these goods through feasting and pilgrimages to Cahuachi. In addition, clays matching the chemical signature of polychrome pottery found all over the Southern Nazca Region have been found near Cahuachi. However, there is no substantial evidence of pottery production at Cahuachi. The site was most likely a redistribution center for ceramics (Vaughn and Neff, 2000).
The Nasca pottery sequence has been divided into nine phases. Visual depictions found on pottery from Phase 1 [also called Proto-Nasca] incorporated realistic subject matter such as fruits, plants, people, and animals. Realism increased in importance in the following three phases (2, 3, 4) referred to as the Monumental phases. The pottery from these phases include renditions of their main subject matter against a bold red, black, or white background. In the next phase, Nasca 5, considerable experimentation occurred, including the addition of rays, volutes, and other "proliferous" attachments to the supernatural motifs on the vessels. Phase 5 is called Transitional, since it bridges the change in style between the naturalism of Phases 2-4 and the proliferous elements added to the motifs in Phases 6 and 7. Nasca 6, and 7 include some of the earlier motifs but also emphasizes militaristic ones, suggesting a shift in social organization. The motifs in these phases 'include abstract elements as part of the design. Large numbers of rays and tassels are appended to many of the designs, particularly those depicting mythical subjects, producing a visual impression of almost infinitely multiplied elements, an impression which accounts for the use of the term 'proliferous' (Roark 1965:2). Art found on pottery in relation to Nasca phases 6 and 7 also display an influence from the Moche culture of north coastal Peru. Finally, Nasca 8 saw the introduction of completely disjointed figures and a geometric iconography which is difficult to decipher. Phases 8 and 9 are now believed to date to the Middle Horizon, reflecting a shift in power from the coast to the highlands with the advent of the Wari culture about 650 A.D. (Silverman and Proulx, 2002).
The Nasca, like all other Pre-Columbian societies in South America including the Inca, had no writing system, in contrast to the contemporary Maya of Mesoamerica. Thus the iconography or symbols painted on their ceramics served as a means of communication. The motifs depicted on Nasca pottery fall into two major categories: sacred and profane. The Nasca believed in powerful nature spirits who were thought to control most aspects of life. The Nazca visualized these nature spirits in the form of mythical beings, creatures having a combination of human and animal/bird/fish characteristics and painted them onto their pottery. These Mythical Beings include such varieties as the Anthropomorphic Mythical Being, Horrible Bird, Mythical Killer Whale, Spotted Cat, etc. (Proulx 2006). Scenes of warfare, decapitation, and the ritual use of human trophy heads by shamans reflect other aspects of Nasca culture.
Textiles
|
| |
|
|
.png)