The Chavin ceramics is a form of cultural expression utilitarian / South American ceremonial, whose style is known as the first artistic expression among prehistoric cultures of the Andes.
The Chavín culture flourished in the northern and central part of the Peruvian Andean highlands, between 900 BC and 200 BC, between the confluence of the Mosne and Wacheksa rivers, at an elevation of 3,177 meters above sea level.
Chavín ceramic is globular in shape with a stirrup handle and flat base.
The Chavín influence spread quite a bit to other nearby pre-Inca civilizations and along the coast. The famous Peruvian archaeologist Julio César Tello, who discovered and studied this civilization, called it a mother culture of the ancient peoples of the Andes.
The word "Chavín" comes from the name of the most characteristic archaeological site of study of this culture, called the ruins of Chavín de Huántar (cultural heritage of humanity), in the Eastern Sierra de Áncash east of the Cordillera Blanca.
Techniques and forms in Chavín ceramics
The ceramics of the Chavín culture were conceived and made with very strong and marked sculptural elements, making it unmistakable as a unique artistic manifestation of the region and the time. The smelting was carried out in clay furnaces fed with charcoal.
The material used was of very high quality and compact, with very well polished finishes in red, black or brown. The finished pieces were thin-walled, with highly sophisticated religious images and figures decorating the surface, made in relief or carved.
The technique used for sculpting or carving is called contour rivalry. This technique allowed them to sculpt anatropic images, that is, the figures offered different interpretations depending on the direction, angle or position in which they were observed.
Commonly, the pieces were in the style of containers, vases or jugs in the shape of a globular bulb up to 50 centimeters in diameter with a flat base.
Most had a thick tubular handle on the container (with internal channels), with the spout or vertical cylindrical spillway at the top. This feature is unique, famous and totally representative of Chavín ceramics
Additionally, the part of the bulb of the pieces could have in its relief patterns with incisions, striations or the so-called splashing of thorns, giving it an elegance and sophisticated texture also unique in its cultural style.
It should be noted that the ceramic pieces were not made with molds or some other type of device. They were made entirely by hand with the sole inspiration of the potter. This indicated to the experts that great value was placed on the individual expression of the artisan. For this reason, each piece was unique and extraordinary.
Topics
Like all Chavín art, its ceramic works are full of images of animals, such as cats (especially the jaguar), snakes, birds of prey, monkeys, lizards and other supernatural representations with fangs and fierce features.
It is important to note that most of these species represented in Chavín art, the vast majority belong to the lower altitude jungle regions (the Amazon), a fact that shows the presence and influence of this civilization in cultures hundreds of kilometers away. of archaeological sites.
The tubular vessels without strictly animal themes, according to the experts, give the impression of evoking oblong or hemispherical fruits with a spiny texture, possibly inspired by custard apple, soursop and some similar tubers.
This works as another evidence of the influence and extension of this culture throughout the territory and its latitudes, given the great plant biodiversity existing in the Andean, Amazonian and even coastal regions of Peru.
Function and interpretation
Although they also made pieces of common use, the most outstanding characteristic of Chavín ceramics are the pieces adorned with great sophistication and detail. These were generally to make offerings in ceremonial rites typical of their religion.
Religion was a very important feature for the Chavín civilization, full of a very rich symbolism and immersed in everyone's lifestyle. The worship of gods in the form of animals predominated in their artistic expressions.
The iconography based on powerful animals is associated with the upper classes of the culture, such as warriors and priests. These were the leaders of the Chavín people and those authorized to possess pieces of higher quality and better artistic finish.
The molding of the relief details of the pieces was so sophisticated that their interpretation was sometimes confusing or difficult to interpret. It is believed that only the high priests were able to understand and read the intricate and complex visual designs.
To the non-expert eye, the perceptual effect of the pieces produced confusion, surprise, amazement, and fear for the gods and spirits of nature. This accentuated the sacred and religious character of Chavín pottery.
Periods
The first stage is called Urabarriu, when even the civilization did not have a very elaborate culture, customs and traditions. The populations were gathered in small residential areas of about a hundred inhabitants, all close to each other.
The lifestyle was governed by elementary group activities such as hunting and planting some products such as corn and potatoes.
This period lasted a little over half a century until 500 BC. The pottery produced was mostly utilitarian and influenced by many other cultures. Due to the low demand for this type of utensil, ceramic production centers were scarce and dispersed.
During the next 100 years the residential areas began to move towards an urban and ceremonial center, like that of Chavín de Huantar. In this phase, called Chakinani, the lifestyle and customs began to take the shape of societies with more complex activities.
Animals such as the llama began to be domesticated and better planting and harvesting techniques were implemented. Here the ceramic pieces begin to be elaborated in more detail and the clay techniques and exterior finishes are perfected.
In the final period called Janabarriu or Rocas, Chavín society already showed a marked differentiation between the upper and lower classes. The professions of each activity specialized; this did not exclude potters, artisans, and other artists.
In this period that lasted until 200 BC, religious rites became the center of life in Chavín society. Consequently, pieces of ceremonial pottery were in constant demand for offerings to the gods.
References
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- The Editors of Encyclopædia Britannica (2016). Chavin. Encyclopædia Britannica. Encyclopædia Britannica, inc. Recovered from britannica.com
- Mark Cartwright (2015). Chavín Civilization. Ancient History Encyclopedia. Recovered from ancient.eu
- The Incas and Their Predecessors (2001). The Chavin Culture. Recovered from tampere.fi/ekstrat/taidemuseo/arkisto/peru/1024/inkat.htm
- Kurt Buzard (2016). Chavín Culture in Peru. Larco Museum, Lima. Travel to Eat. Recovered from traveltoeat.com
- Leiner Cardenas Fernandez (2014). Pottery of the Chavin culture. Learn human history. Recovered from history-peru.blogspot.com
- Ecu Red. Chavín Culture. Recovered from ecured.cu