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Thin section petrography, geochemistry, scanning electron microscopy and X-ray diffraction are key scientific methods used to investigate the raw materials, origins and production technology of archaeological pottery, ceramic building materials, ancient refractories and plaster. Using over 400 colour figures of a diverse range of artefact types and archaeological periods from 50 countries worldwide, this book outlines the mineralogical, chemical and microstructural composition of ancient ceramics and provides comprehensive guidelines for their scientific study within archaeology. The core of the book is dedicated to the versatile approach of ceramic petrography. This is complimented by a detailed account of the principles of bulk instrumental geochemistry, as well as the SEM microanalysis and XRD characterisation of ceramics. The book is intended as a reference manual for research as well as a course text for specialist training on scientific ceramic analysis.
Bringing together the latest research on megalithic monuments throughout the world, 150 researchers offer 72 articles, providing a region-by region account in their specialist areas, and a summary of the current state of knowledge. Highlighting salient themes, the book is vital to anyone interested in the phenomenon of megalithic monumentality.
Investigating local Indigenous processes of creation and creativity, this book uses ethnographic and comparative anthropological perspectives to enquire about creative transformative practices in lowland South America. The volume shows how people create and reinforce their conditions of being by employing different genres of transgression and by creatively shifting contexts of significance. Local socio-cosmic orders, the interrelation of creative genres (myth, verbal art, song, ritual, and handicrafts), and their changing frames of reference (from communal celebrations to wider political and commercial realms) demonstrate the relational, generative, and processual quality of Amerindian creativity.
A collection of multinational scholarly contributions on various cultural aspects of the Amazon region in the 20th century.
Historias del arte en Colombia presenta nuevos relatos sobre el arte producido, consumido, usado e inspirado en este país, a partir de veintiún estudios de caso. Por medio de cuatro ejes temáticos —identidades, materialidades, migraciones y geografías—, propone lecturas distintas de los procesos artísticos en territorio colombiano, al explorar las obras más allá de los movimientos, las cronologías y los nombres más conocidos. Sus protagonistas son platos, pendientes, dibujos, fotografías, pinturas de caballete y mural, esculturas e instalaciones, entre otras obras en su mayoría ignoradas por la historiografía nacional.
Durante los procesos de colonización en diversos territorios de América, la destrucción y el culto de imágenes sagradas fueron dos políticas estipuladas por las instituciones de poder para someter comunidades y, en algunos casos, las personas colonizadas las adoptaron como mecanismo de resistencia. Sin dejar de lado las diferencias entre una y otra política, el acto violento en contra de una imagen y la adoración de esta comparten una creencia por el poder de la imagen: son dos caras de una misma moneda. Destrucción y culto busca indagar esas políticas y mirar cómo están íntimamente ligadas a procesos de sometimiento propios de una política imperial y colonial. A partir de diversos casos de estudio trasatlánticos, dibuja un panorama rico en matices que ponen en evidencia la complejidad de la cultura visual de los siglos XVI y XVII en los territorios de la Corona española.
Sopó en contexto: estudio arqueológico y documental sobre el poblamiento de la cuenca baja del río Teusacá, Volumen I, es una obra que ofrece la primera perspectiva de carácter regional sistemática sobre la ocupación humana de esta importante región del Altiplano Cundiboyacense.
A journey through twenty-one works and stories -from the pre-Hispanic past to the present day- about art produced, consumed, used and inspired in this country, from twenty-one case studies where we find transversal stories that are born of a collective and pedagogical reflection among professors of the Faculty of Arts and Humanities of the Universidad de los Andes. The work recognizes the artistic phenomenon in all its length and diversity: rock art, biombos (folding screens), plates, sculptures, installations, paintings, instruments made of ceramic, among many others, which are the protagonists of this approach to the artistic heritage of the country. The narratives are oriented through four axes that make up the book: identities, materialities, migrations and geographies, in which essential themes are addressed to understand the vast production of art in Colombia. This new approach offers the reader a vision of a larger Colombia and gives a more complete idea of how societies have related to artworks.