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Norte Chico e Inca Nazca culture
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On the northern coast of present-day Peru, Norte Chico was a cluster
of large-scale urban settlements emerged around 3000 BCE,
contemporary with urbanism's rise in Mesopotamia. Norte Chico is the first known complex culture in the Americas, lasting from about 3000BC-1800BC and ranging over three river valleys north of present-day Lima. While archeological evidence consists of irrigation systems and pyramids, there is debate about whether Norte Chico was an urban civilization. |
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The Nazca cultureThe Nazca culture flourished in the Nazca region between 300 BCE and 800 CE. They created the famous Nazca lines and built an impressive system of underground aqueducts that still function today. Near the aqueducts open to tourists, there is an overlook point which includes an Inca building added after the Inca conquest of the area. On the pampa, on which the Nazca lines were made, the ceremonial city of Cahuachi (1-500 CE) sits overlooking the lines. Modern knowledge about the culture of the Nazca is built upon studying the city of Cahuachi.The Nazca region is a desert that the Nazca turned into a viable agricultural area using their aqueduct technology. Nazca pottery has been divided into eight phases. Around 200 BCE, at the end of the Early Horizon drought, Nazca I began. Pottery from this era contains the mythical content of Paracas art, but added realistic subject matter such as fruits, plants, people, and other animals. Realism increased in importance in the following three phases (II, III, IV) referred to as the Monumental phases. The pottery from these phases includes renditions of their main subject matter against a bold red or white background. In the next phase, Nazca V, the backgrounds are filled in and the subject matter now included bodyless renditions of both deamons and humans. Nazca VI, and VII include the earlier motifs but also add militaristic ones, and portraits of elite members of the society. Nazca VI and VII also begin to show the influence of the Moche. Finally, Nazca VIII saw the introduction of completely disjointed figures and a rich iconography which we have yet to decipher. The phases were created before the advent of carbon dating and today have some problems. While the general order did not change there is a great deal of overlap of the phases, and while the Nazca IX phase ends c. 600 CE, some of the pottery in that category was created at least as late as 755 CE. Since the Nazca were a coastal people, who depended on the sea for their livelihood, archaeologists are fortunate that they portrayed aspects of their everyday lives in and on their pottery. The motifs generally seen on Nazca pots are those of animals and plants used and seen by the ancient people. These include sea birds, hummingbirds, whales, sharks, fish, snakes, seeds, flowers, and cacti. Also, more gruesomely, the Nazca also portrayed disembodied heads, presumed to be trophy heads, on their pottery. The Nazca are also known for their textiles. The textile were most likely made by women at habitation sites from spun cotton and wool (Silverman and Proulx, 2002). The textiles would have been made using a backstrap loom, this is very similar to the way these textiles are made in the region today (Silverman and Proulx, 2002). The motifs that appeared on the pottery appeared earlier in the textiles. The desert has preserved the textiles of both the Nazca and Paracas cultures and comprise most of what we know about early textiles in the region. Shawls, dresses, tunics, belts, and bags have been found through excavations at Cahuachi and elsewhere. Many textiles associated with the Nasca culture are garments that are included with grave goods found at burial sites. Almost every body found is wrapped (sometimes partially) in a textile as a part of burial ritual. These textiles are even found with partial burials. Often piles of bones will be found wrapped in a textile garment (DeLeonardis, 2000)The deposit of dresses and shawls contained high status garments (w/feathers, painting, embroidery) and plain garments suggesting different social roles or responsibilities. Furthermore, some light has been shed on the women of the Nasca culture as a result of an extensive analysis of textiles from Cahuachi done by Mary Frame. Frame noted that Nasca women, who are rarely recognized in the archaeological record, had access to high-status materials and the right to wear potent imagery on their garments (Frame, 2003). A large portion of dresses were found portraying birds with speckled bodies, double-headed serpentine figures, and anthropomorphic figures. |
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