Provides a comprehensive and accessible examination of the Inca Empire, which stretched across the Andes Mountains in Peru from the 13th century until the invasion of the Spanish in the 16th century. Drawing on archaeology, anthropology, art history, ethnography, and 16th-century Spanish chronicles, this offers a readable and informative format that explains how the Inca Empire became such an influential and powerful civilization.
Over the centuries, humans have conjured images--the stuff of dreams, convictions, and ardent desire--to describe our afterlife. The vision of heaven can appear as simple as a place among the stars or as complex as a universe filled with a multitude of busy souls. Positioned at the intersection of art, religion, and culture, this book sheds new light on human creativity in its portrayal of the afterlife. Beginning with prehistoric burial objects that help with one's heavenly needs, it travels through history to probe ancient texts, examines enigmatic carvings, dissects the meaning of paintings, and discusses contemporary perspectives in film and media. The author demonstrates that humans around the world have always had the capacity to confront the "final frontier" in spirited, hopeful, and beautiful ways.
Describes the people, places, and events of Ancient Rome, describing travel, trade, language, religion, economy, industry and more, from the days of the Republic through the High Empire period and beyond.
This detailed study is the only reference work of its kind to address Spain's conquest of Central and South America, providing in-depth coverage of native and European ideologies, political motivations, and cultural practices of the region. As the study of world history evolves from a Eurocentric perspective to a more global viewpoint, formerly marginalized groups are now the focus of discussion, revealing a background rich with important military, political, social, and economic achievements. This book examines the once prosperous and powerful native civilizations in Central and South America, discussing the key individuals, strategies, and politics that made these countries strong and indomitable. In spite of this, the author shows how, in only a few generations, Spain defeated these mini-empires, eventually dominating much of the Western Hemisphere. Conflict in the Early Americas: An Encyclopedia of the Spanish Empire's Aztec, Incan, and Mayan Conquests focuses primarily on the defeat of the Aztec, Incan, and Mayan civilizations, but also includes Spanish interactions with lesser-known native groups. Supporting documents including primary sources, maps, and visual aids provide necessary context to this once-untold story.
"The Oxford Handbook of the Incas aims to be the first comprehensive book on the Inca, the largest empire in the pre-Columbian world. Using archaeology, ethnohistory and art history, the central goal of this handbook is to bring together novel recent research conducted by experts from different fields that study the Inca empire, from its origins and expansion to its demise and continuing influence in contemporary times"--Provided by publisher.
Intertwining art history, aesthetic theory, and Latin American studies, Aarnoud Rommens challenges contemporary Eurocentric revisions of the history of abstraction through this study of the Uruguayan artist Joaquín Torres-García. After studying and painting (for decades) in Europe, Torres-García returned in 1934 to his native home, Montevideo, with the dream of reawakening and revitalizing what he considered the true indigenous essence of Latin American art: "Abstract Spirit." Rommens rigorously analyses the paradoxes of the painter's aesthetic-philosophical doctrine of Constructive Universalism as it sought to adapt European geometric abstraction to the Americas. Whereas previous scholarship has dismissed Torres-García's theories as self-contradictory, Rommens seeks to recover their creative potential as well as their role in tracing the transatlantic routes of the avant-garde. Through the highly original method of reading Torres-García's artworks as a critique on the artist's own writings, Rommens reveals how Torres-García appropriates the colonial language of primitivism to construct the artificial image of "pure" pre-Columbian abstraction. Torres-García thereby inverts the history of art: this book teases out the important lessons of this gesture and the implications for our understanding of abstraction today.
The author of Comentarios reales and La Florida del Inca, now recognized as key foundational works of Latin American literature and historiography, Inca Garcilaso de la Vega was born in 1539 in Cuzco, the son of a Spanish conquistador and an Incan princess, and later moved to Spain. Recalling the family stories and myths he had heard from his Quechua-speaking relatives during his youth and gathering information from friends who had remained in Peru, he created works that have come to indelibly shape our understanding of Incan history and administration. He also articulated a new American identity, which he called mestizo. This volume provides guidance on the translations of Garcilaso's writings and on the scholarly reception of his ideas. Instructors will discover ideas for teaching Garcilaso's works in relation to indigenous thought, European historiography, natural history, indigenous religion and Christianity, and Incan material culture. In essays informed by postcolonial and decolonial perspectives, scholars draw connections between Garcilaso's writings and contemporary issues like migration, multiculturalism, and indigenous rights.
In this second volume on the Incan army, we will explore its political and administrative organization and the excellent planning that allowed the Incan State to experience internal and external safety. Our main focus, however, will be mainly on the development of wartime technology and the application of advanced concepts and procedures of strategy, tactics and logistics. Although the times were quite different, the Incan army had put many of the activities that correspond to the functional fields of the Joint Chiefs of Staff into practice: personnel, intelligence, instruction, operations and logistics, similar to those of a modern army. For a more in-depth understanding, terms that are compatible with current concepts and military terminology will be used.
Examining the vivid, often apocalyptic church murals of Peru from the early colonial period through the nineteenth century, Heaven, Hell, and Everything in Between explores the sociopolitical situation represented by the artists who generated these murals for rural parishes. Arguing that the murals were embedded in complex networks of trade, commerce, and the exchange of ideas between the Andes and Europe, Ananda Cohen Suarez also considers the ways in which artists and viewers worked through difficult questions of envisioning sacredness. This study brings to light the fact that, unlike the murals of New Spain, the murals of the Andes possess few direct visual connections to a pre-Columbian painting tradition; the Incas’ preference for abstracted motifs created a problem for visually translating Catholic doctrine to indigenous congregations, as the Spaniards were unable to read Inca visual culture. Nevertheless, as Cohen Suarez demonstrates, colonial murals of the Andes can be seen as a reformulation of a long-standing artistic practice of adorning architectural spaces with images that command power and contemplation. Drawing on extensive secondary and archival sources, including account books from the churches, as well as on colonial Spanish texts, Cohen Suarez urges us to see the murals not merely as decoration or as tools of missionaries but as visual archives of the complex negotiations among empire, communities, and individuals.
