"Moche Fineline Painting: Its Evolution and Its Artists" by Christopher B. NOTE : We have 75,000 books in our library, almost 10,000 different titles.Odds are we have other copies of this same title in varying conditions, some less expensive, some better condition. We might also have different editions as well (some paperback, some hardcover, oftentimes international editions). Were happy to send you a summary of the differing conditions and prices we may have for the same title. Publisher : University of California Los Angeles (1999). Size : 12¼ x 9¼ x 1¼ inches; 4½ pounds. University of California Los Angeles (1999) 320 pages. Unblemished and pristine in every respect. Pages are clean, crisp, unmarked, unmutilated, tightly bound, unambiguously unread. PLEASE SEE DESCRIPTIONS AND IMAGES BELOW FOR DETAILED REVIEWS AND FOR PAGES OF PICTURES FROM INSIDE OF BOOK. PLEASE SEE PUBLISHER, PROFESSIONAL, AND READER REVIEWS BELOW. REVIEW : The Moche culture flourished on the north coast of Peru between 100 and 800 BCE. They left a vivid artistic record of their beliefs and activities in beautifully modeled and painted ceramics.
This book traces the fineline painting tradition from the beginning to the end of the Moche culture. He has researched the Moche civilization of ancient Peru for more than fifty years, conducting numerous excavations of Peruvian archaeological sites. Donnan has traveled the world photographing Moche artwork for purposes of publication, recording both museum artifacts and private collections that would otherwise be unavailable to the public.He has published extensively, both academically and for the general public. When not involved in writing or fieldwork, Donnan teaches anthropology at University of California Los Angeles as Professor Emeritus and serves as Director for the Fowler Museum. Donnan's publications include: "Ancient Burial Patterns of the Moche Valley, Peru"; "Burial Theme in Moche Iconography"; "Ceramics of Ancient Peru"; "Early Ceremonial Architecture in the Andes"; "Moche Art and Iconography"; "Moche Art of Peru: Pre-Columbian Symbolic Communication"; "Moche Fineline Painting: Its Evolution and Its Artists"; "Moche occupation of the Santa Valley, Peru"; "Moche Portraits from Ancient Peru"; "Moche Tombs at Dos Cabezas"; and "The Pacatnamu Papers". Donnan is a professor of anthropology at UCLA where he is also director of the Moche Archive at the Cotsen Institute of Archaeology. Donna McClelland has collaborated with Professor Donnan for nearly 30 years. Chapter Two: Phase 1-2 Building on the Past. Chapter Three: Phase 3 Setting Standards. Chapter Four: Phase 4 The Classical Period. Chapter Five: Phase 5 The Terminal Phase. Chapter Six: The Moche Artists. Chapter Seven: Observations and Conclusions.
Appendix A: Producing Rollout Drawings by Donna McClelland. Appendix B: The Van den Berg Collection by Edward de Bock. REVIEW : The Moche civilization flourished on the north coast of Peru between100 and 800 C.
Although the Moche people had no writing system, they left behind a vivid artistic record of their beliefs and activities in beautifully modeled and painted ceramics. Like the Greek vase painters of ancient Athens, the Moche excelled at painting complex scenes - warriors and prisoners, parades and dances, boats and fishing, burial ceremonies, hunting, and a variety of other subjects involving human, animal and mythological participants. The culmination of three decades of research and study at UCLA, the major exhibition "Moche Fineline Painting of Ancient Peru" features 50 large-scale drawings deftly reproduced from the painted originals by artist and scholar Donna McClelland. Many exquisite Moche vessels from which the drawings were made are also on view, as well as examples of three-dimensional ceramic sculpture. Together, the drawings and ceramics tell the story of a remarkable people and the evolution of their artistic style.
The first of its kind, this exhibition is on view July 16 through Feb. 18, 2001, at the UCLA Fowler Museum of Cultural History.
Nearly all of the drawings and ceramic vessels in the exhibition directly relate to the immediate environment in which the artists lived. Even the most fantastic supernatural creatures can be seen as composites of parts derived from objects visible in the artist's environment. The clothing, ornaments and implements in the paintings are accurate depictions of those that have been recovered from archaeological excavations. Because of the realism of the fineline paintings, the imagery has become a critical resource for reconstructing Moche civilization.
The exhibition offers a study in Moche stylistic traditions over time. In the course of 700 years, Moche artists painted increasingly complex scenes with finer and more delicate lines. The portrayal of human rather than supernatural figures increased and new activities were introduced: one vessel features a procession of pan pipers and buglers. In the final phase of fineline painting, however, the depiction of realism and human activities declined. Paintings became more abstract, and the emphasis was on supernatural creatures in marine settings.
Preceding the Inca civilization by several centuries, the Moche lived in fertile river valleys along a 350-mile stretch of desert coast. In addition to ceramics, the Moche developed sophisticated artistry in metallurgy and textile production. The sheer volume of elaborate artifacts created by the Moche indicates that there must have been a large corps of full-time, highly skilled artisans who were supported by a wealthy elite class. The ceramics and drawings on view offer testimony to a culture that once thrived with a creative genius never duplicated in pre-Columbian Peru. Curated by Donna and Donald McClelland, this exhibition is based on research conducted by UCLA professor of anthropology Christopher B.Donnan and Donna McClelland at the UCLA Moche Archive. The largest of its kind, the Archive now houses more than 160,000 photographs of Moche objects in museums and private collections throughout the world. Donna McClelland's rollout drawings of Moche vessels number more than 730. Donna McClelland's drawings make it possible to view easily in planarform the complete scenes that curve around the vessel chambers. Her drawings have been essential to understanding Moche fineline painting; one section of the exhibition examines the methodology behind the reproduction process.
The drawings have enabled McClelland and Donnan to identify some 90 individual artists, each with multiple works. The distinctive styles of four anonymous artists are highlighted in the exhibition.The exhibition, organized by the Fowler Museum, is accompanied by a 320-page publication, "Moche Fineline: Painting: Its Evolution and Its Artists, " comprising 492 color and 545 black-and-white illustrations. Donnan and Donna McClelland and published by the Fowler, the volume contains the most comprehensive collection and definitive explanation of Moche fineline paintings ever published. REVIEW : This is a sumptuously beautiful and extraordinary book by two major authorities on the civilization of the Moche Indians, who lived on the north coast of Peru for much of the first millennium AD. It depicts hundreds of monochrome drawings made on the rounded surfaces of ceramics created by Moche potters as gifts or tributes to the dead. The cartoon-like vistas and tableaux encode quirky, enigmatic, sometimes horrifying, events that are quasi historical, perhaps even biographical.
The works and images brought together in this book are widely referenced by other scholars in the field. On the same page with a careful, wonderfully detailed, rendition of the original painting in "roll out" format by Donna McClelland usually appears a full color photograph of the source ceramic. Such locality of reference allows the viewer to verify and admire how closely her reproductions match the originals which give a foretaste of the delightfully evocative figurines the Moche also sculpted.The descriptions, explanations, and interpretations of the iconography are spare and succinct. Anthropologists once believed the paintings illustrated every aspect of ancient Moche life, but in fact the highly stylized scenes are drawn from a restricted field of religious ritual and myth.
The authors apply several techniques of analysis, first used to determine the identities of the creators of ancient Greek ceramics, in order to distinguish the individual Moche artists who made the fine line paintings. REVIEW : This is one of the most informative and beautifully published books I have seen in a long time. Chrsitopher Donnnan's writing and explanations of the Moche Fineline ceramics are clear and easily understood and Donna McClelland's illustrations are incredible.
There are wonderful illustrations not only of the fineline paintings but of the techniques used to make the ceramic pots. It is obvious that a lot of work went into this publication and I would highly recommend it to anyone with an interest in the Moche.
REVIEW : I've used a few examples of Moche art in my work for years and thought I knew something about it. This incredible book set me straight. Donnan's text and Donna McClelland's extraordinary rollout drawings have brought the work of long dead Moche artists to life in a way that leaves me hungering for more.Wonderfully designed and painstakingly illustrated, this volume is a treasure-trove of information on this amazing culture. REVIEW : The "Bible" on this subject matter. Profusly illustrated; a culmination of some 30 years study on this subject.
REVIEW : The Moche peoples of ancient Peru (100 BC - 800 AD) portrayed complex scenes on fineline painted ceramic vessels, depicting everything from hunting and fishing to the ritual battles of supernaturals. REVIEW : Moche civilization flourished on the north coast of Peru between AD 100 and 800. Although the Moche people had no writing system, they left a vivid artistic record of their beliefs and activities in beautifully sculpted and painted ceramic vessels, colorful wall murals, sumptuous textiles, and superbly crafted objects of gold, silver, and copper. Dos Cabezas is a spectacular early Moche settlement located at the delta of the Jequetepeque River.Consisting of pyramids, palaces and domestic areas, it is perhaps the largest early Moche settlement ever built. REVIEW : The large copper bowl lay within my grasp, undisturbed for 1,500 years since it had been placed upside down over the dead mans face. Our team had worked more than a month to reach this point in the excavation of one of the richest and most intriguing tombs ever found in Peruthe tomb of a Moche elite. The Moche inhabited a series of river valleys along the arid coastal plain of northern Peru from about A. Through farming and fishing, they supported a dense population and highly stratified society that constructed irrigation canals, pyramids, palaces, and temples. Although they had no writing system, the Moche left a vivid artistic record of their activities in beautiful ceramic vessels, elaborately woven textiles, colorful murals, and wondrous objects of gold, silver, and copper.
Finding undisturbed Moche tombs is rare in an area that has been looted for more than four centuries, yet from 1997 to 1999 our team of U. And Peruvian researchers discovered three extraordinary tombs at Dos Cabezas, an ancient settlement in the lower Jequetepeque Valley. Outside each burial chamber was a miniature tomb containing a small copper statue meant to represent the tombs principal occupant. Each tomb also contained a remarkably tall adult male who would have been a giant among his peers. Gently lifting the copper bowl, I expected to see a skeletonized face.
But instead, looking up at me with inlaid eyes, was an exquisite gold-and-copper funerary mask. We were all astonished and knew then how important these tombs could be to unraveling the mystery of the Moche. REVIEW : Moche society flourished on the north Peruvian coastal desert between the first and the eighth centuries A.In valleys irrigated by rivers flowing westward from the Andes to the Pacific Ocean. The Moche were innovators on many political, ideological, and artistic levels. They developed a powerful elite and specialized craft production, and instituted labor tribute payments. They elaborated new technologies in metallurgy, pottery, and textile production, and finally, they created an elaborate ideological system and a complex religious iconography. Moche skilled ceramists produced a great variety of exquisitely decorated vessels.
The decoration is sometimes painted on the smooth surface of vessels; other times it is tridimensional, forming the vessel shape itself. Occasionally, the message takes both a painted and sculpted form, one completing the other. Nearly all decorated vessels are slip-painted and bichrome, with red decoration on a white/cream background. White on red and black postfire paint are also present to a lesser extent. While painted motifs are generally simple on three-dimensional vessels, two-dimensional decoration sometimes takes the shape of finely painted, highly complex narrative scenes.
Moche decorated vessels were mold-made and, despite their diversity, reveal standardized shapes and decoration. Nine basic shapes are reported in the literature. Stirrup-spout bottles and flaring bowls are the privileged supports on which artists expressed figurative, complex painted scenes. Other shapes are neck and neckless jars, dippers, bowls, neck bowls, cups, and crucibles.Moche ceramic art represents an infinite variety of subjects. Common zoomorphic figures include camelids, deer, felines, foxes, rodents, monkeys, bats, sea lions, as well as a wide array of birds, fish, shells, arachnids, and reptiles. These animals are represented realistically, hybridized, or anthropomorphized. Corn, squash, tubers, and beans are common among a great diversity of plants.
Among human and anthropomorphic figures, rulers, warriors, prisoners, priests, healers, and fanged deities are recognizable, as well as deformed and skeletal individuals. Historical individuals are also represented in realistic, three-dimensional portrait vessels. While animals are often anthropomorphized or hybridized, humans often have supernatural attributes. All these figures are either represented alone or interacting in a variety of actions in diverse narrative scenes. Although the possibilities of creating different scenes from all existing Moche figures are almost limitless, major trends can be recognized in narrative art and representations are limited to a small number of recurring and interrelated themes.
For example, deer and seal hunts, sacrifice ceremonies, warriors in battle or moving in processions, and messengers running in line are common themes in Moche ceramic art. Scholars do not agree about the various functions of Moche decorated ceramics. Until recently, these works of art were thought to be essentially funerary offerings, as they were documented in a great number of burials. Indeed, fineware is the offering par excellence in burials of any social status as a marker of Moche social identity.Decorated vessels were imbued with a strong funerary dimension. However, many vessels uncovered in Moche burials show traces of abrasion, chipping, or repairs. Recent excavations in residential areas, notably in the Moche and Santa Valleys in projects carried out by Universidad Nacional de Trujillo and Université de Montréal, revealed that finely decorated pottery is not only present but abundant in Moche domestic compounds.
Many decorated vessels were not produced exclusively for a funerary purpose. Whereas many of them were ultimately placed in burials or made especially for the dead, most were produced to be used by the living in everyday life.The access to decorated vessels by the living was not unrestricted; some categories of vessels, as well as depictions of some religious themes, were exclusively destined for burial with the dead or for use in elite ritual performances. However, a great variety of vessels, many of them identical to those found in graves, were destined for domestic use. Vessels decorated with religious themes were not merely indicators of social status at the site of Moche. They were strategically used at a household level, as tools to further political ambitions and communicate membership within groups. As evidenced by their iconographic content and the location in which they were abandoned, decorated vessels were an integral part of household-level rituals, meetings, and other status-building activities like feasts, where they were displayed, used, accidentally broken, and in some cases given away along with food and corn beer. REVIEW : The Moche (also known as the Mochicas) flourished on Perus North Coast from A. 200-850, centuries before the rise of the Inca.
Over the course of some six centuries they built thriving regional centers from the Nepeña River Valley in the south to perhaps as far north as the Piura River, near the modern border with Ecuador, developing coastal deserts into rich farmlands and drawing upon the abundant maritime resources of the Pacific Oceans Humboldt Current. Although the Moche never formed a single centralized political entity, they shared unifying cultural traits such as religious practices.Archaeologists in the middle of the twentieth century dubbed the time when the Moche came to power as the Mastercraftsman Period for its striking technological innovations in the arts. Moche artists are well-known for their developments in metal working, but they also excelled at the creation of micro-mosaics, shaping tiny pieces of highly valued materials such as shell, turquoise, and other blue-green stones into tesserae that would be fitted into gold, silver, or wood supports. REVIEW : The Moche balanced stylized painting with realistic representations. On an arid plain in a valley in northern Peru, the site of Moche is dominated by two enormous stepped platforms known as the Huaca de la Luna and the Huaca del Sol, or the Pyramids of the Moon and the Sun. As excavators have cleared the exterior and interior walls of the Pyramid of the Moon, they have discovered large painted murals and friezes depicting warfare, ritual decapitation, complex geometric designs, fearsome portraits of Moche deities like the Decapitator--a bulge-eyed, sharp-toothed deity that resembles an octopus--and terrestrial and sea creatures in bright yellow, red, white, and black. The Moche--a culture group occupying the valley of Peru's north coast from about A. 100 and known primarily for its advanced agricultural knowledge and masterful pottery and metalwork--clearly dominated the site from about A. 150 to 750, during which time it served as the spiritual and political capital of a large territory, incorporating at least the four nearest valleys, about 2,500 square.
Excavations of the last decade at the Pyramid of the Moon and the urban area between the two platforms have provided Moche specialists with an abundance of information about the ritual and everyday lives of those they study. Before now, the best evidence for ritual came from extraordinary and often gruesome artwork, primarily depicted on ceramics. Vessels in the form of stirrup-spouted bottles with molded figures and intricate fine-line painting show warrior-priests bedecked in imposing ornate garb orchestrating ritual warfare; slitting captives' throats, drinking their blood, and hanging their defleshed bones from ropes; and participating in acts of sodomy and fellatio, all in a context of structured ceremony. In the absence of archaeological evidence, most scholars found many of the scenes too horrific to take literally, often suggesting they were simply artistic hyperbole, imagery the priestly class used to underscore its coercive power. The Pyramid of the Moon would have intimidated captives led up its long ramp to meet their fates in ritual sacrifice.The remains of the building's facade and its ramp are in the process of restoration. Under the direction of Santiago Uceda of the University of Trujillo, Steve Bourget of the University of Texas at Austin and his colleague John Verano of Tulane University have discovered at the Pyramids at Moche new evidence proving that the shocking scenes depicted in Moche art are faithful representations of actual behavior, if not records of specific events. Bourget and his team uncovered a sacrificial plaza with the remains of at least 70 individuals--representing several sacrifice events--embedded in the mud of the plaza, accompanied by almost as many ceramic statuettes of captives. It is the first archaeological evidence of large-scale sacrifice found at a Moche site and just one of many discoveries made in the last decade at the site. In 1999, Verano began his own excavations of a plaza near that investigated by Bourget.
He found two layers of human remains, one dating to A. 150 to 250 and the other to A. In both deposits, as with Bourget's, the individuals were young men at the time of death.
They had multiple healed fractures to their ribs, shoulder blades, and arms suggesting regular participation in combat. They also had cut marks on their neck vertebrae indicating their throats had been slit. The remains Verano found differed from those in the sacrificial plaza found by Bourget in one important aspect: they appeared to have been deliberately defleshed, a ritual act possibly conducted so the cleaned bones could be hung from the pyramid as trophies--a familiar theme depicted in Moche art. Even with all this new evidence, much remains to be learned about the lives of the people involved in the ritual system, about how the Moche organized themselves into villages and cities in the north coast valleys, how power was won and lost, who was involved in warfare and how they fought, and of course, what ultimately happened to them.Investigations in the urban sector of the site have started to address some of these questions. However this book is quite heavy, and it is too large to fit into a flat rate mailer. We package as well as anyone in the business, with lots of protective padding and containers. Please ask for a rate quotation. ABOUT US : Most of the items I offer come from the collection of a family friend who was active in the field of Archaeology for over forty years. Though I have always had an interest in archaeology, my own academic background was in sociology and cultural anthropology. After my retirement however, I found myself drawn to archaeology as well.
I spend over half of my year out of the United States, and have spent much of my life either in India or Eastern Europe. Petersburg, as well as some other worthy institutions in Europe connected with Anthropology and Archaeology. I acquire some small but interesting collections overseas from time-to-time, and have as well some duplicate items within my own collection which I occasionally decide to part with. Though I have a collection of ancient coins numbering in the tens of thousands, my primary interest is in ancient jewelry. My wife also is an active participant in the "business" of antique and ancient jewelry, and is from Russia.
Please see our ADDITIONAL TERMS OF SALE. The item "Ancient Peru Moche Fineline Painting Ceramics Art Sipan Tombs Jewelry XL 1000Pix" is in sale since Monday, July 10, 2017.This item is in the category "Antiques\Antiquities\The Americas". The seller is "ancientgifts" and is located in Lummi Island, Washington. This item can be shipped worldwide.