Search Results - Moche
| Type in a word or phrase to search, you can also type in Article ID's separated by commas: |
 |
|
|
the History of Peru series. The Moche civilization (alternately, the Mochica culture, Early Chimu, Pre-Chimu, Proto-Chimu, etc.) flourished in northern Peru from about AD 100 to AD 800, during the Regional Development Epoch. While still the subject of some debate, many scholars contend that the Moche were not politically organized as a monolithic empire or state but rather as a group of autonomous polities that shared a common elite culture as seen in the rich iconography and monumental architecture that survive today. They are particularly noted for their elaborate painted ceramics, gold work, monumental constructions (huacas) and irrigation systems. Moche history may be broadly divided into three periods – the emergence of the Moche culture in Early Moche (AD 100–300), its expansion and florescence during Middle Moche (AD 300–600), and the urban nucleation and subsequent collapse in Late Moche (AD 500–750).[1] Moche society was agriculturally based with a significant level of investment in the diversion of river water into a network of irrigation canals. Their culture was sophisticated and their artifacts document their lives with detailed scenes of hunting, fishing, fighting, sacrifice, sexual encounters and elaborate ceremonies. The Moche cultural sphere is centered around several valleys on the north coast of Peru – Lambayeque, Jequetepeque, Chicama, Moche, Virú, Chao, Santa, and Nepena. The Huaca del Sol, a pyramidal adobe structure on the Rio Moche, had been the largest pre-Columbian structure in Peru; however, it was partly destroyed when Spanish Conquistadors mined its graves for gold. Fortunately the nearby Huaca de la Luna has remained largely intact – it contains many colorful murals with complex iconography and has been under excavation since the early 1990s. Other major Moche sites include Sipan, Pampa Grande, Loma Negra, Dos Cabezas, Pacatnamu, San Jose de Moro, the El Brujo complex, Mocollope, Cerro Mayal, Galindo, Huancaco, and Panamarca. Moche pottery is some of the most varied in the world. The use of mould technology is evident which would have enabled the mass production of certain forms. But despite this, they had a large variation in shape and theme with most important social activities documented in pottery including war, sex, metal work, and weaving.
|
Showing 1 to 3 of 3 Articles matching 'Moche' in related articles. |
| Pages: 1 |
 |
|
|
|
1. Behavioral pattern of the alpacas
January 28, 2008
In the central European country of Peru, a plethora of flora and fauna inhabit themselves of which one of the foremost is the alpaca. They are quite similar in appearance to the llama or the South American camelid and initially they were domesticated by the Moche people who inhabited a part of the Peruvian territory. In Peru, the alpacas are usually found to graze together in herds about 3500 to 5000 meters above the sea level. In usual cases, an alpaca can live for about 20 years though it has been noticed that incase of better nutritional conditioned, the alpaca may live for several more yea... (read more)
Author: Robert Baird
|
|
|
|
|
2. Sex in Peru by Rick Vecchio - Part II
September 11, 2007
Huacos eroticos also have been found from the Vicus and Salinar cultures dating back to Peru's Early Horizon Period, from roughly 850 B.C. to 200 B.C. The Nazca culture, which flourished on Peru's southern coast during the same period as the Moche, stressed painting more than ceramic modeling where sexual motifs were concerned. Sexual ceramics also have been found from the Recuay culture, of that same period, in Peru's northern highlands.
Peruvian archaeologist Federico Kauffman-Doig has argued that the Moche pottery, as well as phallic architectural monuments and artifacts of other Peruv... (read more)
Author: Steve Silvester
|
|
|
|
|
3. Artist Nathan Mabry's Seleceted artwork and biography at The Saatchi-Gallery
June 20, 2007
Through their ethnological pastiche, Nathan Mabry’s work combines references to art history, South American artefacts, and popular culture, to create provocative monuments entwining high culture, primitive ritual, and contemporary experience. In A Very Touching Moment (Pitching A Tent), Mabry’s figure – inspired by Pre-Columbian Moche sculpture, and suggestive of Rodin’s The Kiss – sits as a grotesque fertility totem atop a plinth reminiscent of the work of John McCracken or Donald Judd. Through juxtaposing these disparate forms, Mabry points to a totemic ascendancy, tracing a narrative lineag... (read more)
Author: saatchi_ gallery
|
|
|
|
|
