東華大學圖書館 |

Language: English

Help

回圖書館首頁

手機版館藏查詢

Back

Switch To: Labeled | MARC Mode | ISBD

Style, Aesthetics, and Politics: Pol...

Augustine, Jonah Michael Fares.

Linked to FindBook

Google Book

Amazon

博客來

Style, Aesthetics, and Politics: Polychrome Ceramic Iconography in the Tiwanaku Valley, AD 500-1100.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Style, Aesthetics, and Politics: Polychrome Ceramic Iconography in the Tiwanaku Valley, AD 500-1100./
Author:	Augustine, Jonah Michael Fares.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2019,
Description:	336 p.
Notes:	Source: Dissertations Abstracts International, Volume: 81-05, Section: A.
Contained By:	Dissertations Abstracts International81-05A.
Subject:	Archaeology. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=22583574
ISBN:	9781088343005

Style, Aesthetics, and Politics: Polychrome Ceramic Iconography in the Tiwanaku Valley, AD 500-1100.
Augustine, Jonah Michael Fares.

Style, Aesthetics, and Politics: Polychrome Ceramic Iconography in the Tiwanaku Valley, AD 500-1100. - Ann Arbor : ProQuest Dissertations & Theses, 2019 - 336 p.

Source: Dissertations Abstracts International, Volume: 81-05, Section: A.

Thesis (Ph.D.)--The University of Chicago, 2019.

This item must not be sold to any third party vendors.

During the period referred to as the Middle Horizon, approximately AD 500 to 1100, a particular style of iconography, depicted on polychrome ceramics, textiles, and stone carvings, was produced, exchanged, and consumed over much of the Andes region of South America. Two ancient political projects lie at the heart of this phenomenon: the Wari Empire based in the Ayacucho region of Peru, and the Tiwanaku polity, on which I focus, based in the Southern Titicaca Basin region of western Bolivia. The relationship between the Middle Horizon materials and Tiwanaku's political history presents a good case with which to examine the intersection of aesthetics and politics in an ancient state. Thus, this dissertation answers the question: what roles did the aesthetic qualities of Tiwanaku style polychrome ceramic iconography play in the construction, consolidation, and expansion of Tiwanaku, the city and state?The empirical basis of my arguments is an analysis of Tiwanaku ceramics and iconography, in which I categorized and compared various motifs and elements that appear on polychrome serving wares throughout the heartland of the polity. While I investigate the relationship between aesthetics and politics at Tiwanaku over 7 chapters, my overarching argument is that Tiwanaku style ceramics played different roles and produced different effects in different social contexts. Thus, each chapter focuses on a unique-yet interrelated-set of methodological and theoretical concerns. In the center of Tiwanaku, where megalithic monuments were the site of large-scale feasts, people consumed ceramics that were decorated with a relatively uniform iconography, indicating that solidarity by way of 'common sense' was constructed at these events. The diverse and elegant iconography found on ceramic vessels placed in ruling class tombs, alternatively, illustrates that the production and acquisition of skillfully crafted objects were important foundations for social power at Tiwanaku. Finally, as evidenced by their curation of Tiwanaku style vessels and their creative, playful reproductions of Tiwanaku's iconographic canon, peoples beyond the ceremonial core of the city found pleasure in the aesthetic qualities of Tiwanaku ceramics, which drew them more deeply into Tiwanaku's political community. The fall of the Tiwanaku state in the 12th century coincided with the end of Tiwanaku style material production, ultimately manifesting the deep relationship between the political project and its visual culture.

ISBN: 9781088343005Subjects--Topical Terms:

558412
Archaeology.
Subjects--Index Terms:

aesthetics and politics

Style, Aesthetics, and Politics: Polychrome Ceramic Iconography in the Tiwanaku Valley, AD 500-1100.
LDR:03716nmm a2200385 4500 001 2274229
005 20201120093349.5
008 220629s2019 ||||||||||||||||| ||eng d
020 $a 9781088343005
035 $a (MiAaPQ)AAI22583574
035 $a AAI22583574
040 $a MiAaPQ $c MiAaPQ
100 1 $a Augustine, Jonah Michael Fares. $3 3551701
245 1 0 $a Style, Aesthetics, and Politics: Polychrome Ceramic Iconography in the Tiwanaku Valley, AD 500-1100.
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 2019
300 $a 336 p.
500 $a Source: Dissertations Abstracts International, Volume: 81-05, Section: A.
500 $a Advisor: Kolata, Alan L.
502 $a Thesis (Ph.D.)--The University of Chicago, 2019.
506 $a This item must not be sold to any third party vendors.
520 $a During the period referred to as the Middle Horizon, approximately AD 500 to 1100, a particular style of iconography, depicted on polychrome ceramics, textiles, and stone carvings, was produced, exchanged, and consumed over much of the Andes region of South America. Two ancient political projects lie at the heart of this phenomenon: the Wari Empire based in the Ayacucho region of Peru, and the Tiwanaku polity, on which I focus, based in the Southern Titicaca Basin region of western Bolivia. The relationship between the Middle Horizon materials and Tiwanaku's political history presents a good case with which to examine the intersection of aesthetics and politics in an ancient state. Thus, this dissertation answers the question: what roles did the aesthetic qualities of Tiwanaku style polychrome ceramic iconography play in the construction, consolidation, and expansion of Tiwanaku, the city and state?The empirical basis of my arguments is an analysis of Tiwanaku ceramics and iconography, in which I categorized and compared various motifs and elements that appear on polychrome serving wares throughout the heartland of the polity. While I investigate the relationship between aesthetics and politics at Tiwanaku over 7 chapters, my overarching argument is that Tiwanaku style ceramics played different roles and produced different effects in different social contexts. Thus, each chapter focuses on a unique-yet interrelated-set of methodological and theoretical concerns. In the center of Tiwanaku, where megalithic monuments were the site of large-scale feasts, people consumed ceramics that were decorated with a relatively uniform iconography, indicating that solidarity by way of 'common sense' was constructed at these events. The diverse and elegant iconography found on ceramic vessels placed in ruling class tombs, alternatively, illustrates that the production and acquisition of skillfully crafted objects were important foundations for social power at Tiwanaku. Finally, as evidenced by their curation of Tiwanaku style vessels and their creative, playful reproductions of Tiwanaku's iconographic canon, peoples beyond the ceremonial core of the city found pleasure in the aesthetic qualities of Tiwanaku ceramics, which drew them more deeply into Tiwanaku's political community. The fall of the Tiwanaku state in the 12th century coincided with the end of Tiwanaku style material production, ultimately manifesting the deep relationship between the political project and its visual culture.
590 $a School code: 0330.
650 4 $a Archaeology. $3 558412
650 4 $a Latin American studies. $3 2122903
650 4 $a Art history. $3 2122701
653 $a aesthetics and politics
653 $a Andes
653 $a ceramic style
653 $a feasting
653 $a material culture
653 $a Tiwanaku
690 $a 0324
690 $a 0550
690 $a 0377
710 2 $a The University of Chicago. $b Anthropology. $3 1674926
773 0 $t Dissertations Abstracts International $g 81-05A.
790 $a 0330
791 $a Ph.D.
792 $a 2019
793 $a English
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=22583574