Pre-Columbian Art in the Andes Region
Code: 100565Credits: 6
| Degree programme | Type | Course |
|---|---|---|
| Art History | OP | 3 |
| Art History | OP | 4 |
Contact lecturer
- Name :
- Annabel Villalonga Gordaliza
- Email :
- annabel.villalonga@uab.cat
Group languages
You can consult this information at the end of the document.
Prerequisites
In addition to proficiency in Catalan and Spanish, good reading comprehension skills in other modern languages are recommended.
Objectives
The aim of this course is to provide students with a basic knowledge of the Pre-Columbian art of the Andean region. Upon successful completion of the course, students will be able to:
- Recognize, identify, and characterize the most important works of art.
- Correctly place these works within their historical and artistic context.
- Demonstrate command of the terminology and vocabulary specific to the subject.
- Interpret the iconography and symbolism of works of art.
Learning outcomes
- Applying the iconographic knowledge to the reading of artistic imagery.
- Analysing ideas about an artistic phenomenon in a given cultural context.
- Analysing the creators of an artistic phenomenon in a specific cultural context.
- Analysing the recipients of an artistic phenomenon in a specific cultural context.
- Connecting an artistic imagery with other cultural phenomena within its period.
- Reconstructing the artistic outlook of a particular cultural context.
- Identifying the artistic imagery, placing it into its cultural context.
- Accurately defining and explaining an artistic object with the specific language of art criticism.
- Examining an artistic imagery and distinguishing its formal, iconographic and symbolic values.
- Distinguishing the elaboration techniques and processes of an artistic object.
- Explaining the reception mechanisms of a work of art.
- Engaging in debates about historical facts respecting the other participants' opinions.
Contents
1. INTRODUCTION
1.1 Concept of the Andean Area and its subdivisions. The geographical and environmental setting: Highlands, Coast, and Rainforest. Cultural aspects.
1.2 Introduction to the study of Andean art.
2. ORIGINS AND EARLY CULTURAL MANIFESTATIONS
2.1 The peopling of the Americas. Early and modern theories on the peopling of the Americas. New perspectives.
2.2 From the Archaic to the Formative Period: plant and animal domestication.
2.3 Rock art (engravings and paintings) and its chronology.
3. PERIODS AND CULTURES
3.1 Final Preceramic or Late Archaic Period.
The emergence of civilization. Definition of the concept, subsistence models, and forms of social organization. Origins of monumental architecture in ceremonial centres.Caral. Cerro Sechín. Huaca Prieta. Kotosh.
3.2 Initial Period or Early Formative.
The transition from the Archaic to the Formative Period: changes in subsistence strategies, increasing political complexity, the emergence of pottery, and the growing importance of art in architecture. North Coast: Moxeque, Caballo Muerto, Huaca de los Reyes, and Ventarrón. U-shaped temples (Williams): Garagay, Cardal, Mina Perdida, and La Florida.
3.4 Middle Archaic Period or Initial Horizon.
Emerging traditions: the Chavín and Cupisnique cultures. Location and characteristics. Chavín de Huántar. Essential aspects of social and economic organization and worldview. Architecture: the ceremonial centre and its principal buildings. Architectural sculpture and its iconography. Pottery and textiles.
3.5 Early Intermediate Period or Late Formative.
Paracas culture. Funerary architecture. Funerary bundles (fardos): the making of the ancestor. Pottery. Geoglyphs. Nazca culture. Hydraulic technology: the puquios. Ceremonial architecture: Cahuachi. Funerary architecture: Chauchilla. Pottery: forms and iconography. Textiles, featherwork, and metallurgy. The Nazca Desert geoglyphs. Moche culture. The emergence of the Andean proto-states. Architecture: Huaca del Sol and Huaca de la Luna, the El Brujo complex, and royal burials (the Tomb of the Lord of Sipán). Pottery, painted reliefs, textiles, and metallurgy.
3.6 Middle Horizon.
Tiwanaku culture. Monumental architecture. Stone sculpture. Pottery. Textiles and their symbolism. Influences on the Huari culture.
3.7 Late Intermediate Period.
Lambayeque-Sicán and Chimú cultures. Chan Chan: adobe architecture. Wood sculpture, pottery, goldsmithing, and textiles.
3.8 Late Horizon.
Inca culture. Geography. Society. Government and administration. Religion. Major myths (origins, Vichama, the Four Ages, and Manco Cápac). Architecture: characteristics. Cuzco: temples, streets, the fortress of Sacsayhuamán, and fountains. Machu Picchu. Pottery. Textiles. Metallurgy.
Learning activities and methodology
| Title | Hours | ECTS | Learning outcomes |
|---|---|---|---|
| Group poster and oral presentation. | 40 | 1.6 | 1, 2, 3, 4, 5, 6, 9, 11, 12 |
| Theory classes | 40 | 1.6 | 1, 2, 5, 7, 8, 9, 10 |
| Reading comprehension and critics/ Personal study | 32 | 1.28 | 2, 5, 6, 10, 12 |
- Attendance at in-person lectures delivered by the lecturer. The lecturer presents the essential aspects of the subject through oral explanations supported by PowerPoint presentations, structures the course content, and provides the most appropriate bibliography for exam preparation.
- Attendance at seminar sessions (Amazonia / Northern Andes) led by the lecturer and delivered by specialist guest speakers.
- Critical reading and comprehension of texts.
- Preparation of a group poster on music, acoustics, and Andean art for presentation at the "Conference on Music in Antiquity" (1 December).
Assessment
Continuous assessment activities
| Title | Weight | Hours | ECTS | Learning outcomes |
|---|---|---|---|---|
| Course work | 30% | 25 | 1 | 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12 |
| Critical report (conference, reading) | 20% | 10 | 0.4 | 1, 2, 9 |
| Test | 50% | 3 | 0.12 | 5, 9 |
Continuous Assessment
The assessment of the course consists of three components:
- Final written examination (50%).
- Summary and critical review of a text, seminar, or lecture (20%): students will submit a review of a lecture delivered during class sessions (or online).
- Course project (30%): preparation of a group poster on an Andean work of art related to music (musical instruments, representations of instruments, sound-producing activities, etc.).
Erasmus and exchange students who request to advance an exam must present a document from their home university justifying their request.
Single Assessment
Choosing single assessment does not excuse students from attending classes.
- Theoretical and conceptual examination (50%).
- Reviews of texts and/or analytical commentaries on selected works of art (30%).
- Review of an article or lecture from a gender perspective (20%).
Resit Assessment
The resit assessment will consist of an examination intended exclusively for students who have failed the theoretical and conceptual exam (50%). The other assessment activities are not eligible for resit.
The date and time of the resit examination will be determined by the Faculty’s Academic Administration Office.
At the time each assessment activity is carried out, the lecturer will inform students (via Moodle) of the procedure and date for reviewing grades.
Students will receive a grade of “Not Assessed” (NA) if they have not submitted more than 30% of the assessment activities.
Responsible AI use
This subject allows the use of AI technologies exclusively for support tasks such as bibliographic or content-based searches, text correction and translations.
The student must clearly identify which parts have been generated using AI technology, specify the tools used and include a critical reflection on how these have influenced the process and final outcome of the activity.
Lack of transparency regarding the use of AI in the assessed activity will be considered academic dishonesty; the corresponding grade may be lowered, or the work may even be awarded a zero. In cases of greater infringement, more serious action may be taken.
Academic Misconduct
Any irregularity committed by a student that may lead to a significant alteration of the grade awarded for an assessment activity will result in a mark of 0 (zero) for that activity, regardless of any disciplinary proceedings that may be initiated.
If multiple irregularities are detected in the assessment activities of the same course, the final grade for the course will be 0.
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.
Faugère, Brigitte; Goepfert, Nicolas (dirs.) (2022): Atlas de l'Amérique précolombienne. París: Autrement.
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): Royal tombs 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.
Grieder, Terence; Bueno Mendoza, Alberto; Smith, C. Earle Jr.; Malina, Robert M. (1988). La Galgada, Peru: A Preceramic Culture in Transition. Austin: University of Texas Press.
Guamán Poma de Ayala, Felipe (1987): Nueva crónica y buen gobierno, Madrid: Crónicas de América.
Kauffman, Federico. (1978): Manual de arqueología peruana, Lima.
Klein, Daniel; Cruz Cevallos, Iván (2007): Équateur. L'art secret de l'Équateur précolombien. Milán: 5 Continents Éditions.
Klein, Cecelia F. (ed.). (2001): Dressing the Part: Power, Dress, Gender, and Representation in the Pre-Columbian Americas. Washington, DC: Dumbarton Oaks Research Library and Collection.
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.
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.
Sánchez, Efrain et al. (2012): El Mundo del Arte En San Agustin. Colombia: Villegas Editores.
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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Course groups and languages
The information provided is provisional until November 30. After this date, you will be able to consult the language of each group through this link. To access the information, you will need to enter the course CODE
| Type of teaching | Group | Language | Semester | Shift |
|---|---|---|---|---|
| (TE) Theory | 1 | Catalan | first semester | morning-mixed |
| (PAUL) Classroom practices | 1 | Catalan | first semester | morning-mixed |