#incan art

[ancient-america]

Inca Maiden

The clothes shown here correspond to the Chuquibamba style, an allied kingdom of the Inca empire

The acllas in the Tahuantinsuyu*, were the women of greater cultural preparation. These women were recruited and then chosen to be prepared in the so-called Acllahuasis, which were in charge of the Mamaconas, as stated by the chronicler Bernabé Cobo:

"... the acllahuasi or house of chosen women was an institution that brought together the Mamaconas or Ladies Mothers who acted as teachers and a credible number of girls entering a closing regime between the ages of ten and twelve. They were collected as a tribute among the most noble and beautiful ... "

Source

*Empire of four (the Inca empire)

[palephx]

Given how uncomfortable ear stretchers look and make me feel, it's sorta healing to see them in a better cultural context than Hot Topic.

~ Pair of Ear Spools.

Date: A.D. 1000-1470

Place of origin: Central Coast, Perú

Culture: Chancay or Inca

Period: Late Intermediate-Late Horizon

Medium: Feathers, adhesive, gourd, and leather.

[incognito-princess]

Some of the best 'Inca inspired' masks that my 3rd graders made for multicultural day.

(medium- pasta, beans, spray paint, on poster board)

[fullslack]

Peruvian whistling vessels simulating animal calls (some of the oldest found date to c. 500–300 BCE)

[artifacts-and-arthropods]

500-year-old Snake Figure from Peru (Incan Empire), c. 1450-1532 CE: this fiber craft snake was made from cotton and camelid hair, and it has a total length of 86.4cm (about 34in)

This piece was crafted by shaping a cotton core into the basic form of a snake and then wrapping it in structural cords. Colorful threads were then used to create the surface pattern, producing a zig-zag design that covers most of the snake's body. Some of its facial features were also decorated with embroidery.

A double-braided rope is attached to the distal end of the snake's body, near the tip of its tail, and another rope is attached along the ventral side, where it forms a small loop just behind the snake's lower jaw. Similar features have been found in other serpentine figures from the same region/time period, suggesting that these objects may have been designed for a common purpose.

Very little is known about the original function and significance of these artifacts; they may have been created as decorative elements, costume elements, ceremonial props, toys, gifts, grave goods, or simply as pieces of artwork.

The Metropolitan Museum of Art argues that this figure might have been used as a prop during a particular Andean tradition:

In a ritual combat known as ayllar, snakes made of wool were used as projectiles. This effigy snake may have been worn around the neck—a powerful personal adornment of the paramount Inca and his allies—until it was needed as a weapon. The wearer would then grab the cord, swing the snake, and hurl it in the direction of the opponent. The heavy head would propel the figure forward. The simultaneous release of many would produce a scenario of “flying snakes” thrown at enemies.

The same custom is described in an account from a Spanish chronicler named Cristóbal de Albornoz, who referred to the tradition as "the game of the ayllus and the Amaru" ("El juego de los ayllus y el Amaru").

The image below depicts a very similar artifact from the same region/time period.

Why Indigenous Artifacts Should be Returned to Indigenous Communities.

Sources & More Info:

Metropolitan Museum of Art: Snake Ornament

Serpent Symbology: Representations of Snakes in Art

Journal de la Société des Américanistes: El Juego de los ayllus y el Amaru

Yale University Art Gallery: Votive Fiber Sculpture of an Anaconda

[redscharlach]

He's so adorable, I had to draw him.

You go, tiny silver llama.

Tiny silver llama, Incan, circa 1400-1534

from The Walters Art Museum

[kelpermoosee]

One time I turned in a South Park fanfic for my English final, and got full credit (it was creek)

[diamonddrawsstuff]

Name a better duo. I’ll wait

[atomic-cat]

art for @miranda-ska

inspired by traditional andean art

[batrachois]

E'Njaura

God of Logos

Logos (λόγος) the divine wisdom manifest in the creation, government, and redemption of the world

E'Njaura is the patron deity of rationality and light. He protects creators, poets and all of academia.

Symbols: Day, Rubies, Fire.

[he is one if the three main gods from the dnd campaign I dm for my friends and is also very clearly inspired by Enjolras from Les Mis so if anything do consider this fanart lol]

[dapper-suitor]

IM BACK

I started a little early on spooktober, but I wanted to draw a drider oc I made!

Lore for him below the cut

I love goliath bird eater tarantulas; they're so fluffy, so out of the blue I wanted to make a drider based off that.

Since these spiders are native to South America, I wanted to reflect that with K'intu, and it got me thinking about the lore of driders in DND and how I could connect the two...

So essentially, here's what I've come up with, based off the fact that driders were drow cursed and shamed by their god:

➜ K'intu, from birth, was named after what he was supposed to be in Incan society: a ritual ingredient. Never able to live his life without the threat of his destiny looming over his head, K'intu had a rather isolated childhood, and when he turned 18, he was brought upon an alter to please his gods. Something went wrong. He still doesn't know what- but instead of simply dying like he should have, K'intu was transformed into a hideous monster, and hunted out of his home village from fear and disgust. He lives deep in the Peruvian jungle to this day- foraging and living away from the screams of humanity.

SOME NOTES:

I am aware that Incan society didn't sacrifice people on the scale the Aztec did, but the most important rituals in their religion did involve some human sacrifice.

K'intu literally means, "Ritual" in Incan (Quechua).

[atomic-chronoscaph]

Incan Visitation - art by Jack Kirby (1975)

[occvltswim]

❝ Capac Cuna Inca o Genealogía de los Incas (18th century) ❞

This canvas illustrates the “Inca family tree”. The Spanish monarchy of the time sought to legitimize its absolute power over the conquered territories. To this end, the Spanish were obliged to demonstrate that the conquest of Peru did not spell the end of the Inca dynasty, and that the kings of Spain were their only legitimate heirs. In this painting, the Holy Roman Emperor Carlos V appears as the successor to Atahualpa, and Carlos IV – the last king represented – figures as the 25th Inca emperor of Peru.

[asikku]

mixin n matching

[wool-string]