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2021/2022

Pre-Columbian Art in the Andes Region

Code: 100565 ECTS Credits: 6
Degree Type Year Semester
2500239 Art History OT 3 0
2500239 Art History OT 4 0
The proposed teaching and assessment methodology that appear in the guide may be subject to changes as a result of the restrictions to face-to-face class attendance imposed by the health authorities.

Contact

Name:
Annabel Villalonga Gordaliza
Email:
Annabel.Villalonga@uab.cat

Use of Languages

Principal working language:
catalan (cat)
Some groups entirely in English:
No
Some groups entirely in Catalan:
Yes
Some groups entirely in Spanish:
No

Prerequisites

 In addition to the understanding of Catalan and Spanish, a good reading comprehension is recommended in other modern languages,

Objectives and Contextualisation

The aim of the subject is to provide basic knowledge about precolumbian Andean Art and once the course finished students should be able to:


										
											1. Recognize, identify and characterize the most important works of art.
										
											2. Place them correctly in their historical-artistic context.
										
											3. Mastering the terminology and vocabulary of the subject.
										
											4. Interpret the iconography and symbolism of the works.

Competences

    Art History
  • Critically analysing from the acquired knowledge a work of art in its many facets: formal values, iconographic significance, artistic techniques and procedures, elaboration process and reception mechanisms.
  • Interpreting a work of art in the context in which it was developed and relating it with other forms of cultural expression.
  • Recognising the evolution of the artistic imagery from the antiquity to the contemporary visual culture.
  • Students must be capable of applying their knowledge to their work or vocation in a professional way and they should have building arguments and problem resolution skills within their area of study.
  • Students must be capable of communicating information, ideas, problems and solutions to both specialised and non-specialised audiences.

Learning Outcomes

  1. Accurately defining and explaining an artistic object with the specific language of art criticism.
  2. Analysing ideas about an artistic phenomenon in a given cultural context.
  3. Analysing the creators of an artistic phenomenon in a specific cultural context.
  4. Analysing the recipients of an artistic phenomenon in a specific cultural context.
  5. Applying the iconographic knowledge to the reading of artistic imagery.
  6. Connecting an artistic imagery with other cultural phenomena within its period.
  7. Distinguishing the elaboration techniques and processes of an artistic object.
  8. Engaging in debates about historical facts respecting the other participants' opinions.
  9. Examining an artistic imagery and distinguishing its formal, iconographic and symbolic values.
  10. Explaining the reception mechanisms of a work of art.
  11. Identifying the artistic imagery, placing it into its cultural context.
  12. Reconstructing the artistic outlook of a particular cultural context.

Content

1. INTRODUCTION
										
											
										
											1.1 Population of America.
										
											
										
											     Ancient and modern theories about the settlement of America. Cultural areas. Americanist studies.
										
											
										
											 
										
											
										
											1.2 Prehistory
										
											
										
											      Main findings. The rock art (engravings and paintings).
										
											
										
											 
										
											
										
											2. ANDEAN AREA
										
											
										
											2.1 Concept of the Andean Area.
										
											
										
											      Stages and cultures. General characteristics of the art. Religion. Society. Economy. The environment: Sierra, Costa and Selva.
										
											
										
											 
										
											
										
											2.2 Late Preceramic or Late Archaic.
										
											
										
											      The emergence of civilization. Definition of the concept, subsistence and society models. Type of architecture (overlapping platforms, sunken places ...).
										
											
										
											      Caral. Hill Sechin. Huaca Prieta. Kotosh
										
											
										
											 
										
											
										
											2.3 Initial or Early Formative Period.
										
											
										
											     From the Archaic to the Formative: change in subsistence models, greater political complexity, appearance of ceramics and great importance of art in architecture.
										
											
										
											     North Coast: Moxeque, Caballo Muerto, Huaca de los Reyes and Ventarrón.
										
											
										
											     Temples in "U" (Williams) Garagay, Cardal, Lost Mine and Florida.
										
											
										
											 
										
											
										
											2.4 Arcaic Period or Initial Horizon.
										
											
										
											     CHAVIN Culture. Situation and characteristics. Chavin. Essential aspects of the social, economic and worldview structure.
										
											
										
											     Architecture: the ceremonial center and main buildings. The architectural sculpture and its iconography. Ceramics and textiles.

2.5 Initial Intermediate or Final Formative Period.
										
											
										
											     PARACAS Culture. Funerary architecture. The textiles and their symbolism.
										
											
										
											    NAZCA Culture. Architecture: religious centers, underground aqueducts. The ceramics: forms and iconography. Bird's-eye view: the geoglyphs of the Nazca desert.
										
											
										
											     MOCHE Culture. Architecture (the big "huacas" of brick), the royal burials (The tomb of the Lord of Sipán). Ceramics, painted reliefs, textiles and goldsmiths.
										
											
										
											 
										
											
										
											2.6 Middle Horizon Period.
										
											
										
											      TIAHUANACO Culture. Monumental architecture Sculpture in stone. Ceramics. Textiles and their symbolism.
										
											
										
											      The echoes in the HUARI culture.
										
											
										
											 
										
											
										
											2.7 Period of Late Intermediate.
										
											
										
											     CHIMÚ culture. ChanChan: architecture in brick. Sculpture in wood, ceramics, silversmithing and textiles.
										
											
										
											 
										
											
										
											2.8 Period of the Late Horizon.
										
											
										
											      INCA Culture.
										
											
										
											      A. Geography. Society. Government and administration. Religion. Most important myths (from the origins, of Vichama, of the Four Ages and of Manco Capac)
										
											
										
											      B. Architecture: characteristics. Cuzco: temples, streets, Sacsahuamán fortress and fountains. Macchu Picchu. Ceramics. Textiles and Metallurgy.


Methodology

The teaching methodology and the evaluation proposed in the guide may undergo some modification subject to the onsite teaching restrictions imposed by health authorities.
Attendance to the theory classes directed by the teacher. The teacher explains orally and with the visual support of PowerPoint to the students the essential aspects of the subject, systematizing the contents and suggesting suitable bibliography to prepare the exam. 
										
											Attendance to sessions of seminars and practices led by the teacher and / or other specialists.
										
											Comprehensive reading of texts.
Writing reviews, papers, and analytical comments.
Personal study.

Annotation: Within the schedule set by the centre or degree programme, 15 minutes of one class will be reserved for students to evaluate their lecturers and their courses or modules through questionnaires.

Activities

Title Hours ECTS Learning Outcomes
Type: Directed      
Theory classes 40 1.6 2, 11, 5, 1, 7, 9, 6
Type: Supervised      
Writing activities and oral exhibition of an issue 40 1.6 3, 4, 2, 5, 9, 10, 8, 12, 6
Type: Autonomous      
Reading comprehension and critics/ Personal study 32 1.28

Assessment

The evaluation of the subject will consist of three parts:
										
											
										
											Exam (50%)
										
											
										
											Critic summary of a conference: (10%) brief summary of a conference session hold by the teacher in the classroom and other activities scheduled in Campus Virtual (tests, readings) (10%).
Course work (30%): exhibition and oral presentation of a thematic issue from a list that teacher will give to the students the first weeks of the course. 

Reassessment is a sufficiency test exclusively for those who have failed some of the previous tests or activities and it is an opportunity for students to pass previous failed tests/activities. Therefore, those who have not submitted activities throughout the course or those who have already passed them cannot attend the test. The calendar of "Gestió Acadèmica" of the Faculty will determine the day and hour of this sufficiency test.
On carrying out each evaluation activity, lecturers will inform students (on Moodle) of the procedures to be followed for reviewing all grades awarded, and the date on which such a review will take place.

Students will obtain a “Not assessed/Not submitted” course grade unless they have submitted more than 30% of the assessment items.
In the event that tests or exams cannot be taken onsite, they will be adapted to an online format made available through the UAB’s virtual tools (original weighting will be maintained). Homework, activities and class participation will be carried out through forums, wikis and/or discussion on Teams, etc. Lecturers will ensure that students are able to access these virtual tools, or will offer them feasible alternatives.

IMPORTANT: In the event of a student committing any irregularity that may lead to a significant variation in the grade awarded to an assessment activity, the student will be given a zero for this activity, regardless of any disciplinary process that may take place. In the event of several irregularities in assessment activities of the same subject, the student will be given a zero as the final grade for this subject.

 

Assessment Activities

Title Weighting Hours ECTS Learning Outcomes
Course work 30% 25 1 3, 4, 2, 11, 5, 1, 7, 9, 10, 8, 12, 6
Critical report (conference, reading) 20% 10 0.4 2, 5, 9
Test 50% 3 0.12 9, 6

Bibliography

General

 

Adams, Richard.E.W. (2000): Las antiguas civilizaciones del Nuevo Mundo, Barcelona:Crítica.

Braun, Barbara. (2000), Pre-Columbian Art and the Post-Columbian world: ancient american sources of modern art. New York ; London : Harry N. Abrams.

Grieder, Terence. (1987): Orígenes del Arte Precolombino, México DF: F.C.E.

Kubler, George. (1986): Arte y arquitectura en la América precolonial, Madrid: Cátedra.

Lynne Costin, Cathy (2016): Making value, making meaning. Techné in Pre-Columbian world. Dumbarton Oaks Symposia. Washington: Dumbarton Oaks.

Ocampo, Estela (1999), Cómo reconocer el arte precolombino de América del Sur (I). Barcelona: Edunsa.

Pasztory, Esther. (1998): Pre-Columbian Art, London: The Everyman Art Library.

Pasztory, Esther (2005): Thinking with things. Toward a new vision of art. Austin: University of Texas Press.

Piña Chan, Román. (1986): Historia, Arqueología y Arte Prehispánico, México DF: F.C.E.

 

 

Andean Area

Alva, Walter. (1994) Sipán. Colección Cultura y Artes del Perú. Lima.

Alva, Walter; Donnan, Christopher B. (1993) Royaltombs of Sipán. University of California: Fowler Museum of Cultural History.

Berberian, Eduardo – Raffino, Rodolfo (1991): Culturas indígenas de los Andes meridionales, Madrid: Alhambra.

Berenguer, José (2000) Tiwanaku:señores del lago sagrado. Museo Chileno de Arte Precolombino – Banco Santiago, Santiago de Chile.

Burger, R.(1995): Chavín and the Origins of Andean Civilization, London:Thames& Hudson.

Cieza de León, Pedro (1984): La crónica del Perú, Madrid: Crónicas de América.

Cieza de León, Pedro (1985): Señorío de los Incas, Madrid: Crónicas de América.

Cuesta Domingo, Mariano (1980): Arqueología andina: Perú, Madrid, Ministerio de Cultura.

Davies, Nigel (1999): Los antiguos reinos del Perú, Barcelona: Crítica-Arqueología.

Donnan, Christopher. (1976): Moche Art and Iconography. Los Angeles: University of California Press.

Donnan, Christopher (1978): Moche art of Peru. Los Angeles: Museum of Cultural History.

Donnan, Christopher ed. (1985): Early Ceremonial Architecture in the Andes. Washington: Dumbarton Oaks.

Guamán Poma de Ayala, Felipe  (1987): Nueva crónica y buen gobierno, Madrid: Crónicas de América.

Kauffman, Federico. (1978): Manual de arqueología peruana, Lima.

Kolata, Alan L. (1993): The Tiwanaku: Portrait of an Andean Civilization. Cambridge, Massachusets: Blackwell.

Lavalle, José Antonio de la – Lang, Werner (1990): Culturas precolombinas: Chimú, Lima: Banco de Crédito del Perú.

Lavalle, José Antonio de la  – Lang, Werner (1990): Culturas precolombinas: Paracas, Lima: Banco de Crédito del Perú.

Lechtmann, Heather – Soldi, Ana María Soldi (1985): La tecnología en el mundo andino, México DF: UNAM.

Lumbreras, Luis G. (1974): The Peoples and Cultures of Ancient Peru, Washington DC: Smithsonian Institution.

Lumbreras, Luis G. (1981): Arqueología de la América Andina, Lima.

Lumbreras, Luis G. (1992): Cultures preincaiques dels Andes septentrionals i centrals: la  cultura Chavín, Barcelona: Ajuntament de Barcelona.

Mason, John Alden (1978): Las antiguas culturas del Perú, México DF: F.C.E.

Moseley, Michael E. (2001): The incas and their ancestors. The Archaeology of Peru. London: Thames & Hudson. 2a ed.

Moseley, Michael E. Day, Kent C. (1982) Chan Chan, Andean desert city. Santa Fe: School of American Research.

Paternosto, C (1996) The Stone and the Thread: Andean Roots of Abstract Art. Austin: University of Texas Press.

Paul, Anne. (1991): Paracas. Art and Architecture, Iowa City: University of Iowa.

Pillsbury, Joanne (2001): Moche Art and archaeology in ancient Peru. Washington: National Gallery of Art; Studies in the history of art, n.63.

Porras, Raúl (1986): Los cronistas del Perú (1528-1650), Lima: Banco de Crédito del Perú.

Protzen, Jean-Pierre (1993): Inca architecture at Ollantaytambo. Oxford: Oxford University Press, 1993.

Rovira, Salvador (1990): La metalurgia americana: análisis tecnológico de materiales prehispánicos y coloniales, Madrid: Universidad Complutense.

Rowe, John Howland (1967)   Form and Meaning in Chavin Art. En: Peruvian Archaeology - Selected Readings, eds. J. H.Rowe y D.Menzel, págs. 72-103.

Silverman, Helaine(2004): Andean Archaeology. Malden, MA: Blackwell Publishing.

Stone-Miller, Rebecca (2012) Art from the Andes: from Chavín to Incas. Londres: Thames & Hudson, World of Art collection. 3a ed.

Tello, Julio – Mejía, Toribio (1979): Paracas: cavernas y necrópolis, Lima: UNMSM.

                                   

 

Software

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