Los personajes frontales de báculos en la iconografía tiahuanaco y huari: ¿tema o convención?
Front Face Figures with Staffs in Tiahuanaco and Huari Iconography: Theme or Convention?In this article, the author argues that the empirical and theoretical foundations of the proposition that all Huari and Tiahuanaco iconographic renditions of the Staff God and accompanying angels derive from a si...
| Autor Principal: | Makowski Hanula, Krzysztof |
|---|---|
| Formato: | Artículo |
| Idioma: | spa |
| Publicado: |
Pontificia Universidad Católica del Perú
2012
|
| Materias: | |
| Acceso en línea: |
http://revistas.pucp.edu.pe/index.php/boletindearqueologia/article/view/2510/2454 |
| Etiquetas: |
Agregar Etiqueta
Sin Etiquetas, Sea el primero en etiquetar este registro!
|
| Sumario: |
Front Face Figures with Staffs in Tiahuanaco and Huari Iconography: Theme or Convention?In this article, the author argues that the empirical and theoretical foundations of the proposition that all Huari and Tiahuanaco iconographic renditions of the Staff God and accompanying angels derive from a single model (i.e. Tiahuanaco's Gate of the Sun) must be questioned. This conclusion is based on two different lines of evidence: a) the known or suggested provenience of Tiahuanaco and Huari ceremonial objects, and b) the repertoire of motifs and figurative conventions as well as the compositional methods that dominate the rendition of these images. The specific iconographic design of the Gateway of the Sun is not repeated in any other lithic sculpture at Tiahuanaco. Not even the decoration of the Bennett monolith, which surpasses all other sculptures at the site in monumentality and complexity, can be considered a model. In all these sculptures, the number, characteristics, posture, distribution, and orientations of portrayed personages can not be taken as character-specific. Consequently, it is suggested that this only express hierarchical position. Several deities were depicted in frontal perspective to emphasize their rank above all other supernatural beings represented in the same scenes. To express identity, the artists employed a conventional repertoire of signs that were added to staffs, spear throwers, tear bands, belts, headdress rays, and other details of human/animal bodies. Huari pot painters and textile weavers used this same repertoire of signs with great skill and creativity. Among other things, they used them to create high-ranking deities whose iconographic individuality has no antecedents known in the altiplano, and so consequently, they probably belonged to local cults. In conclusion, the presence of complex Tiahuanaco iconography in the Ayacucho Valley cannot be explained by formal influences based on casual contacts (e.g. sporadic presence of foreign workers and artists), commercial exchange, or the diffusion of a monotheist cult. On the contrary, mounting evidence indicates that the Conchopata and Huari elites consciously decided to emphasize foreign origin probably kinship with ruling lineages and deities of the altiplano by employing Tiahuanaco's symbolic design repertoire in their clothing and ritual paraphernalia. |
|---|