A definitive resource for early works on indigenous Andean cultures

A definitive resource for early works on indigenous Andean cultures

"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.

The Inca Empire existed for fewer than 100 years, yet ruled more subjects than either the Aztecs or the Maya and occupied a territory stretching nearly 3000 miles. The Incas left no system of writing; what we know of them has been gleaned from the archaeological record and accounts written following the Spanish invasion. In this A-to-Z encyclopedia, Gary Urton and Adriana von Hagen, together with over thirty contributors, provide a broad introduction to the fascinating civilization of the Incas, including their settlements, culture, society, celebrations, and achievements. Following a broad introduction, 128 individual entries explore wide-ranging themes (religion, architecture, farming) and specific topics (ceremonial drinking cup, astronomy), interweaving ethnohistoric and archaeological research with nuanced interpretation. Each entry provides suggestions for further reading. Sidebars profiling chroniclers and researchers of Inca life—ranging from José de Acosta and Cristóbal de Albornoz to Maria Rostworowski and R. Tom Zuidema—add depth and context for the cultural entries. Cross-references, alphabetical and topical lists of entries, and a thorough index help readers navigate the volume. A chronology, selected bibliography, regional map, and almost ninety illustrations round out the volume. In sum, the Encyclopedia of the Incas provides a unique, comprehensive resource for scholars, as well as the general public, to explore the civilization of the Incas—the largest empire of the pre-Columbian New World.

A groundbreaking work on how the topic of scale provides an entirely new understanding of Inca material culture Although questions of form and style are fundamental to art history, the issue of scale has been surprisingly neglected. Yet, scale and scaled relationships are essential to the visual cultures of many societies from around the world, especially in the Andes. In Scale and the Incas, Andrew Hamilton presents a groundbreaking theoretical framework for analyzing scale, and then applies this approach to Inca art, architecture, and belief systems. The Incas were one of humanity's great civilizations, but their lack of a written language has prevented widespread appreciation of their sophisticated intellectual tradition. Expansive in scope, this book examines many famous works of Inca art including Machu Picchu and the Dumbarton Oaks tunic, more enigmatic artifacts like the Sayhuite Stone and Capacocha offerings, and a range of relatively unknown objects in diverse media including fiber, wood, feathers, stone, and metalwork. Ultimately, Hamilton demonstrates how the Incas used scale as an effective mode of expression in their vast multilingual and multiethnic empire. Lavishly illustrated with stunning color plates created by the author, the book's pages depict artifacts alongside scale markers and silhouettes of hands and bodies, allowing readers to gauge scale in multiple ways. The pioneering visual and theoretical arguments of Scale andthe Incas not only rewrite understandings of Inca art, but also provide a benchmark for future studies of scale in art from other cultures.

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.

A central tenet of Catholic religious practice, confession relies upon the use of language between the penitent and his or her confessor. In the sixteenth and seventeenth centuries, as Spain colonized the Quechua-speaking Andean world, the communication of religious beliefs and practices—especially the practice of confession—to the native population became a primary concern, and as a result, expansive bodies of Spanish ecclesiastic literature were translated into Quechua. In this fascinating study of the semantic changes evident in translations of Catholic catechisms, sermons, and manuals, Regina Harrison demonstrates how the translated texts often retained traces of ancient Andean modes of thought, despite the didactic lessons they contained. In Sin and Confession in Colonial Peru, Harrison draws directly from confession manuals to demonstrate how sin was newly defined in Quechua lexemes, how the role of women was circumscribed to fit Old World patterns, and how new monetized perspectives on labor and trade were taught to the subjugated indigenous peoples of the Andes by means of the Ten Commandments. Although outwardly confession appears to be an instrument of oppression, the reformer Bartolomé de Las Casas influenced priests working in the Andes; through their agency, confessional practice ultimately became a political weapon to compel Spanish restitution of Incan lands and wealth. Bringing together an unprecedented study (and translation) of Quechua religious texts with an expansive history of Andean and Spanish transculturation, Harrison uses the lens of confession to understand the vast and telling ways in which language changed at the intersection of culture and religion.