By Carolyn J Dean
A huge contribution to either artwork heritage and Latin American experiences, A tradition of Stone deals refined new insights into Inka tradition and the translation of non-Western paintings. Carolyn Dean specializes in rock outcrops masterfully built-in into Inka structure, exquisitely labored masonry, and freestanding sacred rocks, explaining how definite stones took on lives in their personal and performed an essential position within the unfolding of Inka historical past. interpreting the a number of makes use of of stone, she argues that the Inka understood development in stone as a fashion of ordering the chaos of unordered nature, changing untamed areas into domesticated areas, and laying declare to new territories. Dean contends that realizing what the rocks signified calls for seeing them because the Inka observed them: as very likely animate, sentient, and sacred. via cautious research of Inka stonework, colonial-period debts of the Inka, and modern ethnographic and folkloric experiences of indigenous Andean tradition, Dean reconstructs the relationships among stonework and different facets of Inka existence, together with imperial growth, worship, and agriculture. She additionally scrutinizes meanings imposed on Inka stone via the colonial Spanish and, later, by way of tourism and the vacationer undefined. A tradition of Stone is a compelling multidisciplinary argument for rethinking how we see and understand the Inka previous.
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Additional info for A Culture of Stone: Inka Perspectives on Rock
68 Also important are eyewitness testimonies that, in general, can be given more weight than those of authors who learned of something second (or third) hand. I am also particularly wary of the problem of what we might call “cultural illiteracy,” the inability of European observers to fathom what they saw or to understand what they were told by indigenous informants. Colonial sources can prove useful if they are employed with caution and a critical awareness of how cultural precepts may have influenced not just perceptions and interpretations but also what was written about to begin with.
The chapter also focuses on named types of rocks that the Inka venerated. These include the rulers’ stone brothers, petrous guardians of territory, petrified warriors, rocks that embodied periods of time, and those that embodied quarries and sacred mountains. I argue that the Inka prioritized the transubstantial essence of stone over its superficial appearance. Thus the imagistic carving of stone, although important, will not be the focus of my discussion. With the aid of a contemporary Quechua story, chapter 2, “Rock and Reciprocity,” suggests that the pre-Hispanic Inka conceived of the untouched natural environment as fundamentally complementary to their built environment.
Felipe Guaman Poma de Ayala, “Primer Capítulo de las Yngas: Armas Propias,” in El Primer Nueva Corónica y Buen Gobierno, fol. 79, ca. 1615. Photograph provided by the Royal Library, Copenhagen, Denmark. and wrote both Spanish and the indigenous language of Quechua. As a Christian, he aided in the extirpation of indigenous religious practices, and as a native Andean, he protested the Spanish colonial system of government. 77 Wanakawri was one of the Inka’s most esteemed waka, as it was understood to be the petrified brother of the founding Inka dynast.
A Culture of Stone: Inka Perspectives on Rock by Carolyn J Dean