Journal articles: 'Art, Pre-Columbian'

1

M.K. "Sexuality and Pre-Columbian Art." Americas 46, no. 1 (1989): 93–95. http://dx.doi.org/10.1017/s0003161500076239.

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Pasztory, Esther. "Aesthetics and Pre-Columbian Art." Res: Anthropology and aesthetics 29-30 (March 1996): 318–25. http://dx.doi.org/10.1086/resvn1ms20166957.

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3

Paul, Anne. "Pre-Columbian Art: Investigations and Insights:Pre-Columbian Art: Investigations and Insights." Latin American Anthropology Review 5, no. 2 (1993): 93–94. http://dx.doi.org/10.1525/jlat.1993.5.2.93.2.

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Paul, Anne. "Pre-Columbian Art: Investigations and Insights." Latin American Anthropology Review 5, no. 2 (2008): 93–94. http://dx.doi.org/10.1525/jlca.1993.5.2.93.2.

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Scott, John F., and Hildegard Delgado Pang. "Pre-Columbian Art: Investigations and Insights." Hispanic American Historical Review 73, no. 1 (1993): 140. http://dx.doi.org/10.2307/2517644.

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Braun, Barbara. "Henry Moore and Pre-Columbian Art." Res: Anthropology and Aesthetics 17-18 (March 1989): 158–97. http://dx.doi.org/10.1086/resvn1ms20166819.

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Scott, John F. "Pre-Columbian Art: Investigations and Insights." Hispanic American Historical Review 73, no. 1 (1993): 140–41. http://dx.doi.org/10.1215/00182168-73.1.140.

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8

Berman, Mary Jane. "Art and Archaeology of Pre-Columbian Cuba:Art and Archaeology of Pre-Columbian Cuba." Museum Anthropology 23, no. 1 (1999): 56–57. http://dx.doi.org/10.1525/mua.1999.23.1.56.

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9

Sullivan, Edward J., and Barbara Braun. "Pre-Columbian Art in the Twentieth Century." Art Journal 53, no. 4 (1994): 106. http://dx.doi.org/10.2307/777573.

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10

Marini, Pamela. "Pre‐Columbian art in the Bliss Collection." Historian 55, no. 1 (1992): 31–36. http://dx.doi.org/10.1111/j.1540-6563.1992.tb00883.x.

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11

Feres, João. "Representing Latin America through Pre-Columbian Art." Theory, Culture & Society 26, no. 7-8 (2009): 182–207. http://dx.doi.org/10.1177/0263276409349276.

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King, Frances B. "Corn in Clay: Maize Paleoethnobotany in Pre-Columbian Art:Corn in Clay: Maize Paleoethnobotany in Pre-Columbian Art." American Anthropologist 102, no. 3 (2000): 634–35. http://dx.doi.org/10.1525/aa.2000.102.3.634.

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Berlo, Janet C. ": Pre-Columbian Art: Investigations and Insights . Hildegard Delgado Pang." American Anthropologist 95, no. 1 (1993): 207–8. http://dx.doi.org/10.1525/aa.1993.95.1.02a00630.

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14

Boomert, Arie. "Pre-Columbian Art of the Caribbean, by Lawrence Waldron." New West Indian Guide / Nieuwe West-Indische Gids 94, no. 1-2 (2020): 209–10. http://dx.doi.org/10.1163/22134360-09401002.

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15

Quilter, Jeffrey. "Continuity and Disjunction in Pre-Columbian Art and Culture." Res: Anthropology and aesthetics 29-30 (March 1996): 303–17. http://dx.doi.org/10.1086/resvn1ms20166956.

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16

Jenkins, Della, Roy Sieber, Douglas Newton, and Michael D. Coe. "African, Pacific, and Pre-Columbian Art: In the Indiana University Art Museum." African Arts 21, no. 1 (1987): 74. http://dx.doi.org/10.2307/3336507.

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17

Trever, Lisa. "Pre-Columbian Art History in the Age of the Wall." Latin American and Latinx Visual Culture 1, no. 1 (2019): 100–104. http://dx.doi.org/10.1525/lavc.2019.000007b.

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Following an introductory essay, six short contributions by academics and museum curators in the United States (US) and Europe tackle the current state and future of Pre-Columbian visual culture studies. They explore the field’s impressive growth in this century, as well as some of the dangers it currently faces as a result of that growth. Several trace its present state to its origins and the part played by early Mexican and US nationalism, the popularity of world’s fairs, and the civil rights movement, among other factors. Also considered are problems inherent in the late nineteenth- and early twentieth-century separation of the preconquest past from the newly labeled colonial period, as well as the concurrent embrace of the term “Pre-Columbian.” Other essays take a hard look at the present and future relation of art history to archaeology and cross-disciplinary studies within the field, which is defined in part by their dependence on, or skepticism regarding, iconography. Whereas academics wrestle in these essays with the implications of a declining job market, museum curators struggle with limited funding. Nonetheless, possible new strategies and opportunities for the future are proposed, including engagement with issues posed by the rising interest in decoloniality and global indigeneity. RESUMEN Luego de un ensayo introductorio, seis contribuciones cortas de académicos y conservadores de museos en los Estados Unidos y Europa abordan el estado actual y el futuro de los estudios de cultura visual precolombina. Se explora el impresionante crecimiento del campo en este siglo, así como algunos de los peligros que enfrenta actualmente como resultado de este crecimiento. Varios colaboradores trazan el estado actual del campo hasta sus orígenes y notan la influencia en él de las primeras manifestaciones de los nacionalismos de México y los Estados Unidos, la popularidad de las ferias mundiales y el Movimiento por los derechos civiles, entre otros factores. También se consideran los problemas inherentes a la separación entre el pasado precolombino y el llamado período colonial que se establecía entre fines del siglo XIX y principios del siglo XX, así como la aceptación simultánea del término “precolombino”. Otros ensayos analizan detenidamente la relación presente y futura de la historia del arte con la arqueología y los estudios interdisciplinarios dentro del campo, que se define en parte por su dependencia o escepticismo con respecto a la iconografía. Mientras que los académicos discuten en estos ensayos las implicaciones de un mercado de trabajo decreciente, los curadores de museos abordan las restricciones presupuestarias. No obstante, se proponen posibles nuevas estrategias y oportunidades para el futuro, como la participación futura en cuestiones planteadas por el creciente interés en la descolonialidad y la indigeneidad global. RESUMO Após um ensaio introdutório, seis curtas contribuições de acadêmicos e curadores de museus nos Estados Unidos e na Europa abordam o estado atual e o futuro dos estudos da cultura visual pré-colombiana. O impressionante crescimento do campo neste século, bem como alguns dos perigos que atualmente enfrenta como resultado desse crescimento, são explorados. Diversos colaboradores traçam o estado atual do campo até suas origens e o papel desempenhado pelo nacionalismo inicial do México e dos Estados Unidos, a popularidade das feiras mundiais e o Movimento dos direitos civis, entre outros fatores. Também são considerados os problemas inerentes à separação, no final do século XIX e início do século XX, entre o passado pré-conquista e o recém-rotulado período colonial, bem como a aderência simultânea ao termo “pré-colombiano”. Outros ensaios dedicam olhar atento à relação presente e futura da história da arte com a arqueologia e estudos interdisciplinares dentro do campo, que é definida em parte por sua dependência ou ceticismo em relação à iconografia. Enquanto os acadêmicos lutam nesses ensaios com as implicações de um mercado de trabalho em declínio, os curadores de museus lutam com recursos limitados. No entanto, são propostas possíveis novas estratégias e oportunidades para o futuro, incluindo o envolvimento futuro com questões levantadas pelo crescente interesse na decolonialidade e na indigeneidade global.

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18

Labbé, Armand J. "The Pre‐Columbian Art of Panama at the Bowers Museum." Historian 57, no. 2 (1994): 341. http://dx.doi.org/10.1111/j.1540-6563.1995.tb01498.x.

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19

Pillsbury, Joanne. "Pre-Columbian: Perspectives and Prospects." Latin American and Latinx Visual Culture 1, no. 1 (2019): 121–27. http://dx.doi.org/10.1525/lavc.2019.000007f.

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Following an introductory essay, six short contributions by academics and museum curators in the United States (US) and Europe tackle the current state and future of Pre-Columbian visual culture studies. They explore the field’s impressive growth in this century, as well as some of the dangers it currently faces as a result of that growth. Several trace its present state to its origins and the part played by early Mexican and US nationalism, the popularity of world’s fairs, and the civil rights movement, among other factors. Also considered are problems inherent in the late nineteenth- and early twentieth-century separation of the preconquest past from the newly labeled colonial period, as well as the concurrent embrace of the term “Pre-Columbian.” Other essays take a hard look at the present and future relation of art history to archaeology and cross-disciplinary studies within the field, which is defined in part by their dependence on, or skepticism regarding, iconography. Whereas academics wrestle in these essays with the implications of a declining job market, museum curators struggle with limited funding. Nonetheless, possible new strategies and opportunities for the future are proposed, including engagement with issues posed by the rising interest in decoloniality and global indigeneity. RESUMEN Luego de un ensayo introductorio, seis contribuciones cortas de académicos y conservadores de museos en los Estados Unidos y Europa abordan el estado actual y el futuro de los estudios de cultura visual precolombina. Se explora el impresionante crecimiento del campo en este siglo, así como algunos de los peligros que enfrenta actualmente como resultado de este crecimiento. Varios colaboradores trazan el estado actual del campo hasta sus orígenes y notan la influencia en él de las primeras manifestaciones de los nacionalismos de México y los Estados Unidos, la popularidad de las ferias mundiales y el Movimiento por los derechos civiles, entre otros factores. También se consideran los problemas inherentes a la separación entre el pasado precolombino y el llamado período colonial que se establecía entre fines del siglo XIX y principios del siglo XX, así como la aceptación simultánea del término “precolombino”. Otros ensayos analizan detenidamente la relación presente y futura de la historia del arte con la arqueología y los estudios interdisciplinarios dentro del campo, que se define en parte por su dependencia o escepticismo con respecto a la iconografía. Mientras que los académicos discuten en estos ensayos las implicaciones de un mercado de trabajo decreciente, los curadores de museos abordan las restricciones presupuestarias. No obstante, se proponen posibles nuevas estrategias y oportunidades para el futuro, como la participación futura en cuestiones planteadas por el creciente interés en la descolonialidad y la indigeneidad global. RESUMO Após um ensaio introdutório, seis curtas contribuições de acadêmicos e curadores de museus nos Estados Unidos e na Europa abordam o estado atual e o futuro dos estudos da cultura visual pré-colombiana. O impressionante crescimento do campo neste século, bem como alguns dos perigos que atualmente enfrenta como resultado desse crescimento, são explorados. Diversos colaboradores traçam o estado atual do campo até suas origens e o papel desempenhado pelo nacionalismo inicial do México e dos Estados Unidos, a popularidade das feiras mundiais e o Movimento dos direitos civis, entre outros fatores. Também são considerados os problemas inerentes à separação, no final do século XIX e início do século XX, entre o passado pré-conquista e o recém-rotulado período colonial, bem como a aderência simultânea ao termo “pré-colombiano”. Outros ensaios dedicam olhar atento à relação presente e futura da história da arte com a arqueologia e estudos interdisciplinares dentro do campo, que é definida em parte por sua dependência ou ceticismo em relação à iconografia. Enquanto os acadêmicos lutam nesses ensaios com as implicações de um mercado de trabalho em declínio, os curadores de museus lutam com recursos limitados. No entanto, são propostas possíveis novas estratégias e oportunidades para o futuro, incluindo o envolvimento futuro com questões levantadas pelo crescente interesse na decolonialidade e na indigeneidade global.

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20

Rangel-de Lázaro, Gizéh, Adrián Martínez-Fernández, Armando Rangel-Rivero, and Alfonso Benito-Calvo. "Shedding light on pre-Columbian crania collections through state-of-the-art 3D scanning techniques." Virtual Archaeology Review 12, no. 24 (2021): 1. http://dx.doi.org/10.4995/var.2021.13742.

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During the 19th and 20th centuries, numerous museums, scientific societies, and royal academies were founded in Europe and America. In this scenario, the Anthropological Museum Montané was founded in Havana, Cuba. Its collection has grown over the years, thanks to researchers, antiquarians, and amateurs. Since its foundation, the Museum Montané has become an essential institution for anthropological and archaeological research in the region. Nowadays, the Museum Montané, like other museums in developing countries, faces a challenge in the introduction of state-of-the-art technologies to digitizing exhibits and the creation of innovative projects to attract visitors. The current possibilities of virtualization of cultural heritage using digital technologies have a favorable impact on the preservation, access, and management of museum collections. The use of three-dimensional (3D) models fosters engagement with visitors, stimulates new forms of learning, and revalorizes the exhibits. In the current study, we use a hand-held structured light scanner to create 3D reality-based models of pre-Columbian crania from the Caribbean and South American collection of the Anthropological Museum Montané. The resulting 3D models were used for producing 3D printing replicas and animated videos. The 3D resources derived will encourage new knowledge through research, and provide broader access to these pre-Columbian crania collection through learning and outreach activities. The significance of digitizing these specimens goes beyond the creation of 3D models. It means protecting these fragile and valuable collections for future generations. The methodology and results reported here can be used in other museums with similar collections to digitally document, study, protect, and disseminate the archaeological heritage. Going forward, we seek to continue exploring the application of novel methods and digital techniques to the study of the pre-Columbian crania collections in Latin American and the Caribbean area.Highlights:<ul><li>A hand-held structured light scanner was used to acquire 3D reality-based models of pre-Columbian crania. The 3D models resulting were used for 3D printing replicas and 3D animations.</li><li>This study provides unprecedented 3D reconstructions of pre-Columbian crania in the Caribbean area, and new 3D reconstructions of artificially deformed crania from South America.</li><li>The 3D resources created will encourage new knowledge through research, and provide broader access to these pre-Columbian crania collection through learning and outreach activities.</li></ul>

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Griffin, Gillett G., and Matthew H. Robb. "Pre-Columbian Art: A Selection from the John B. Elliott Collection." Record of the Art Museum, Princeton University 61, no. 1/2 (2002): 26. http://dx.doi.org/10.2307/3774765.

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22

Cummins, Thomas B. F. "To Serve Man: Pre-Columbian Art, Western Discourses of Idolatry, and Cannibalism." Res: Anthropology and aesthetics 42 (September 2002): 109–30. http://dx.doi.org/10.1086/resv42n1ms20167572.

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23

Appelboom, Thierry, and Muhammad S. Soyfoo. "Tobacco: From pre-Columbian use to the appearance of rheumatoid arthritis in the Old World?" Arthritis & Rheumatism 62, no. 5 (2010): 1561–62. http://dx.doi.org/10.1002/art.27355.

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Kabylinskii, Boris Vasilievich. "Totem symbols in decorative traditions of the peoples of pre-Columbian America: conflict or harmony?" Культура и искусство, no. 7 (July 2020): 1–12. http://dx.doi.org/10.7256/2454-0625.2020.7.32827.

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The object of this research is a totem symbol in decorative tradition of the peoples of pre-Columbian America. The subject of this research is the images of jaguar in the art of the Aztecs of Mesoamerica. The images of a human and jaguar are captured on the metal, stone and clay artifacts of pre-Columbian civilizations that are available to the public in Mexico City National Museum of Anthropology, Peruvian Museum of the Nation in Lima, Metropolitan Museum of Art in New York, and Smithsonian National Museum of Natural History in Washington, D. C. The research methodology is based on compilation of the results of fundamental research of the leading scholars of North American School of Anthropology. The article conduct a general systematization and brief analytics of scientific records on the specificity of Mesoamerican decorative tradition of totem symbols throughout an extensive period of time: 1500 BC – 400 AD (Olmec Civilization), III century BC – VII century AD (Teotihuacan Civilization), 900 BC – 200 AD (Chavín Civilization), 750 BC – 100 AD (Paracas Civilization), 2300 – 1200 BC (Kotosh Civilization), 1250 – 1470 AD (Chimú Civilization). The presented materials substantiate the thesis that jaguar as a totem symbol carried out the functions of unification and identification of ethnoses of Mesoamerica, reflecting relevant sociocultural trends at various stages of anthropogenesis. The novelty of this work consists in scientific systematization of the facts that the nuances of fusion of the images of human and jaguar in art objects of Aztec culture reflect a harmonious or turbulent frame of mind in pre-Columbian era.

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Diehl, Richard A. "Olmec Art at Dumbarton Oaks. Pre-Columbian Art at Dumbarton Oaks, No. 2. Karl A. Taube." Journal of Anthropological Research 61, no. 3 (2005): 397–99. http://dx.doi.org/10.1086/jar.61.3.3631332.

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26

Reents-Budet, Dorie. "Michael D. Coe & Justin Kerr,The art of the Maya scribe. London: Thames & Hudson, 1997; New York: Abrams, 1998. Pp. 240. Hb $75.00." Language in Society 29, no. 3 (2000): 464–67. http://dx.doi.org/10.1017/s004740450038304x.

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This book caps Michael Coe's distinguished career as a Mayanist scholar. In this book, he joins with Justin Kerr to present the formal, technical, and aesthetic characteristics of the art of writing as practiced by the pre-Columbian Maya of Mesoamerica. The collaboration of a renowned archaeologist with an equally illustrious photographer and dedicated student of Maya art has created a readable, highly informative, and well-illustrated text.

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Cummins, Thomas B. F. "Pre-Columbia: Wherefore Art Thou Art?" Latin American and Latinx Visual Culture 1, no. 1 (2019): 94–99. http://dx.doi.org/10.1525/lavc.2019.000007a.

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Following an introductory essay, six short contributions by academics and museum curators in the United States (US) and Europe tackle the current state and future of Pre-Columbian visual culture studies. They explore the field’s impressive growth in this century, as well as some of the dangers it currently faces as a result of that growth. Several trace its present state to its origins and the part played by early Mexican and US nationalism, the popularity of world’s fairs, and the civil rights movement, among other factors. Also considered are problems inherent in the late nineteenth- and early twentieth-century separation of the preconquest past from the newly labeled colonial period, as well as the concurrent embrace of the term “Pre-Columbian.” Other essays take a hard look at the present and future relation of art history to archaeology and cross-disciplinary studies within the field, which is defined in part by their dependence on, or skepticism regarding, iconography. Whereas academics wrestle in these essays with the implications of a declining job market, museum curators struggle with limited funding. Nonetheless, possible new strategies and opportunities for the future are proposed, including engagement with issues posed by the rising interest in decoloniality and global indigeneity. RESUMEN Luego de un ensayo introductorio, seis contribuciones cortas de académicos y conservadores de museos en los Estados Unidos y Europa abordan el estado actual y el futuro de los estudios de cultura visual precolombina. Se explora el impresionante crecimiento del campo en este siglo, así como algunos de los peligros que enfrenta actualmente como resultado de este crecimiento. Varios colaboradores trazan el estado actual del campo hasta sus orígenes y notan la influencia en él de las primeras manifestaciones de los nacionalismos de México y los Estados Unidos, la popularidad de las ferias mundiales y el Movimiento por los derechos civiles, entre otros factores. También se consideran los problemas inherentes a la separación entre el pasado precolombino y el llamado período colonial que se establecía entre fines del siglo XIX y principios del siglo XX, así como la aceptación simultánea del término “precolombino”. Otros ensayos analizan detenidamente la relación presente y futura de la historia del arte con la arqueología y los estudios interdisciplinarios dentro del campo, que se define en parte por su dependencia o escepticismo con respecto a la iconografía. Mientras que los académicos discuten en estos ensayos las implicaciones de un mercado de trabajo decreciente, los curadores de museos abordan las restricciones presupuestarias. No obstante, se proponen posibles nuevas estrategias y oportunidades para el futuro, como la participación futura en cuestiones planteadas por el creciente interés en la descolonialidad y la indigeneidad global. RESUMO Após um ensaio introdutório, seis curtas contribuições de acadêmicos e curadores de museus nos Estados Unidos e na Europa abordam o estado atual e o futuro dos estudos da cultura visual pré-colombiana. O impressionante crescimento do campo neste século, bem como alguns dos perigos que atualmente enfrenta como resultado desse crescimento, são explorados. Diversos colaboradores traçam o estado atual do campo até suas origens e o papel desempenhado pelo nacionalismo inicial do México e dos Estados Unidos, a popularidade das feiras mundiais e o Movimento dos direitos civis, entre outros fatores. Também são considerados os problemas inerentes à separação, no final do século XIX e início do século XX, entre o passado pré-conquista e o recém-rotulado período colonial, bem como a aderência simultânea ao termo “pré-colombiano”. Outros ensaios dedicam olhar atento à relação presente e futura da história da arte com a arqueologia e estudos interdisciplinares dentro do campo, que é definida em parte por sua dependência ou ceticismo em relação à iconografia. Enquanto os acadêmicos lutam nesses ensaios com as implicações de um mercado de trabalho em declínio, os curadores de museus lutam com recursos limitados. No entanto, são propostas possíveis novas estratégias e oportunidades para o futuro, incluindo o envolvimento futuro com questões levantadas pelo crescente interesse na decolonialidade e na indigeneidade global.

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Austin, Daniel F., Kaoru Kitajima, Yoshiaki Yoneda, and Llanfen Qian. "A putative tropical American plant,Ipomoea nil (Convolvulaceae), in pre-Columbian Japanese art." Economic Botany 55, no. 4 (2001): 515–27. http://dx.doi.org/10.1007/bf02871714.

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Simek, Jan F., Alan Cressler, Nicholas P. Herrmann, and Sarah C. Sherwood. "Sacred landscapes of the south-eastern USA: prehistoric rock and cave art in Tennessee." Antiquity 87, no. 336 (2013): 430–46. http://dx.doi.org/10.1017/s0003598x00049048.

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Systematic field exploration in Tennessee has located a wealth of new rock art—some deep in caves, some in the open air. The authors show that these have a different repertoire and use of colour, and a different distribution in the landscape—the open sites up high and the caves down low. The landscape has been reorganised on cosmological terms by the pre-Columbian societies. This research offers an exemplary rationale for reading rock art beyond the image and the site.

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SILVERMAN, HELAINE. "Subverting the Venue: A Critical Exhibition of Pre-Columbian Objects at Krannert Art Museum." American Anthropologist 106, no. 4 (2004): 732–38. http://dx.doi.org/10.1525/aa.2004.106.4.732.

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Henriod, Gustavo von Bischoffshausen. "The Manuel Solari Swayne Library at the Museum of Art of Lima." Art Libraries Journal 30, no. 3 (2005): 16–19. http://dx.doi.org/10.1017/s0307472200014048.

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This paper describes the collections and services, as well as the current and future goals, of the Manuel Solari Swayne Library, an information service specializing in the visual arts in Lima, Peru. The library is part of the Museo de Arte de Lima, an institution that holds more than 10,000 objects, providing a survey of Peruvian art from pre-Columbian times to the present day. The museum’s current renovation project includes plans to double the space available to the library and thus create better access to this valuable resource for art history, museology and the visual arts in Peru and Latin America.

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Marina, Cuenca Novillo. "A Study of Zoomorphic Digital Motifs Applied to Children Picture-Book Based on Pre-Columbian Art." Treatise on The Plastic Media 23, no. 3 (2020): 83–92. http://dx.doi.org/10.35280/kotpm.2020.23.3.10.

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Anderson, Richard L. "Cross-Cultural Aesthetic Contrasts and Implications for Aesthetic Evolution and Change." Empirical Studies of the Arts 11, no. 1 (1993): 51–60. http://dx.doi.org/10.2190/tkv4-73d6-x9td-6cp2.

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In contrast to small-scale societies, philosophies of art in complex societies tend to be relatively explicit, produced by specialists, and densely textured—a pattern exemplified by the differences between the aesthetic systems of Aboriginal Australian versus pre-Columbian Aztec societies. These differences may parallel the gradual changes in aesthetics that occurred as some small, pre-neolithic cultures evolved into complex states. Also, when traditional societies undergo the shock of culture contact, their previously profound aesthetic systems, whether explicit or implicit, tend to be replaced by concerns about craftsmanship, intensiveness of work, and market value—as exemplified by pre- and post-contact Aztec culture. Also discussed are possible future developments in each of these dynamic processes, respectively designated “bary-evolution” and “ocy-evolution.”

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Tremain, Cara Grace. "Fifty Years of Collecting: The Sale of Ancient Maya Antiquities at Sotheby’s." International Journal of Cultural Property 24, no. 2 (2017): 187–219. http://dx.doi.org/10.1017/s0940739117000054.

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Abstract:Pre-Columbian antiquities, particularly those from the Maya region, are highly sought after on the international art market. Large auction houses such as Sotheby’s have dedicated pre-Columbian departments and annual auctions, for which sales catalogues are created. These catalogues offer insight into market trends and allow the volume of antiquities being bought and sold to be monitored. The following study records the public sale of Maya antiquities at Sotheby’s over a period slightly exceeding 50 years from 1963 to 2016. More than 3,500 artifacts were offered for sale during this period, of which more than 80 percent did not have associated provenance information. The data suggests that the volume of Maya antiquities offered for sale at Sotheby’s public auctions have been steadily decreasing since the 1980s, but their relative value has increased. Quantitative studies of auction sales such as this one can be useful in monitoring the market for illegal antiquities and forgeries.

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Riris, Philip, and José Oliver. "Patterns of Style, Diversity, and Similarity in Middle Orinoco Rock Art Assemblages." Arts 8, no. 2 (2019): 48. http://dx.doi.org/10.3390/arts8020048.

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The area encompassed by the Orinoco river basin is home to some of the largest and most diverse rock art sites in lowland South America. In this paper, we aim to formally describe the spatial distribution and stylistic attributes of rock engravings and paintings on both banks of the Orinoco, centred on the Átures Rapids. Drawing on an exhaustive literature review and four years of field survey, we identify salient aspects of this corpus by investigating patterns of diversity and similarity. Based on a stylistic classification of Middle Orinoco rock art, this permits us to discuss potential links, as well as notable discontinuities, within the assemblage and possibly further afield. We consider the theoretical implications of our work for the study of pre-Columbian art and conclude with some suggestions for advances in methods for achieving the goal of deriving broader syntheses.

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Scott, David A. "Modern Antiquities: The Looted and the Faked." International Journal of Cultural Property 20, no. 1 (2013): 49–75. http://dx.doi.org/10.1017/s0940739112000471.

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AbstractThis article discusses some of the issues regarding the acquisition of art and the different philosophical views of some of the main protagonists regarding the reclaiming of art by nation-states, following American museums' acceptance of the 1970 UNESCO Convention, using examples from the Getty Museum and the Metropolitan Museum of Art. The mediation of Native American Graves Protection and Repatriation Act (NAGPRA) claims by conservators is often an important component of the dialogue between museums and native communities. The philosophical and art-historical opinions regarding the value of copies and reproductions of works of art have oscillated from promulgation in the 1860s to outright rejection by the 1920s. In a modernist sense, points of view are once again open to reevaluation as host nations demand back more originals than ever before. Arguments against the claims of nationalist-retentionist countries and those advanced in favor of the claims of nation-states regarding the repatriation of their art are discussed. The problems created by looted art in association with the ever-increasing number of fakes is highlighted, with examples of the issues surrounding pre-Columbian art and some classical antiquities. The utility of copies in relation to the protective value of the authentic piece is discussed in the context of museum examples in which the concept of the utilization of copies for museum display has been accepted in certain cases as desirable.

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Graham, Mark Miller. "Pre-Columbian Art. Esther Pasztory. Cambridge University Press, Cambridge, 1998. 176 pp., figures, bibliography, index. $18.95 (paper)." Latin American Antiquity 10, no. 3 (1999): 315–16. http://dx.doi.org/10.2307/972034.

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Klein, Cecelia F. "Not like Us and All the Same: Pre-Columbian Art History and the Construction of the Nonwest." Res: Anthropology and aesthetics 42 (September 2002): 131–38. http://dx.doi.org/10.1086/resv42n1ms20167573.

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Nielsen, Jesper, Christophe Helmke, and Maja Balle. "Skrevet på papir og skind. Mesoamerikanske manuskripter fra præcolumbiansk tid til kolonitiden." Fund og Forskning i Det Kongelige Biblioteks Samlinger 55 (March 3, 2016): 9. http://dx.doi.org/10.7146/fof.v55i0.118910.

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Jesper Nielsen, Christophe Helmke & Maja Balle: Written on Paper and Hides: Mesoamerican Manuscripts from Pre-Columbian to Colonial Times A series of important Pre-Columbian civilizations thrived in the culture area known as Mesoamerica. Among these were the Olmec, Maya, Mixtec and Aztec, literate cultures of different language families. Mesoamerica is one of the very few hearths of literacy in the ancient world, since it is here that writing was invented in the New World, independently of the development of writing in the Old World, as seen in Egypt and Mesopotamia, the Indus Valley and China. Whereas the earliest ancestral writing system of Mesoamerica remains elusive it eventually gave rise to as many as ten different writing systems, of which only that of the Maya and the Aztec have succumbed to phonetic decipherment. This contribution provides a thorough overview of Mesoamerican literature, as represented in the manuscripts that subsist to the present day. As such we do not review the written records inscribed on stone monuments or portable objects and items of regalia, nor the texts painted on murals. Instead, focus is placed on the manuscripts that represent Pre-Columbian literary traditions, both in terms of format, as well as the coupling of images and texts, written in one or another Native American writing system. All of these manuscripts were produced by Native American scribes in the decades preceding and following the Spanish Conquest, although some manuscripts exhibit some degree of European influence and the beginnings of a hybrid Indo-Christian style. We present a background on books and scribes, as well as Mesoamerican writing systems as these are understood today. From there we review the three salient areas of manuscript production in Mesoamerica, namely, the Aztec tradition of central Mexico, the intervening tradition spanning from Puebla to Oaxaca, describing in detail the Mixtec mapa from the town of Xochitepec which is part of the Danish National Museum’s collection, and finally, the Maya tradition in the east. To close we take a look at the continued production and utilisation of Mesoamerican manuscripts, not only for the illicit art market, but also among traditional communities, where manuscripts are still integrated into ritual life and where traces of the Pre-Columbian scribal arts subsist to this day.

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bradley, robert. "Sudado de Raya: An Ancient Peruvian Dish." Gastronomica 12, no. 4 (2012): 68–73. http://dx.doi.org/10.1525/gfc.2012.12.4.68.

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This article delineates the ancient culinary origins of a stew made from ray meat, which remains popular to this day in villages on Peru's North Coast. The major components of the dish (ray meat, chicha beer, ají pepper, and mococho edible seaweed) are thoroughly discussed in reference to the pre-Columbian record and the preparation of the recipe. The ancient Peruvian tradition of fishing is outlined and numerous references are made to maritime imagery in the art of the prehispanic Moche people. The cultural tradition and architecture of the Moche serve as a backdrop for the entire discussion.

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Ruiz Romero, Zara. "Lawfulness and Ethics around Cultural Property Auctions: The Case of the Barbier-Mueller Pre-Columbian Collection." International Journal of Cultural Property 27, no. 3 (2020): 397–416. http://dx.doi.org/10.1017/s0940739120000211.

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AbstractIn March 2013, the Barbier-Mueller collection of pre-Columbian art was auctioned at Sotheby’s Paris. This event ended with the sale of half of the works offered and generated a confrontation between six of the countries of origin of the artifacts, which were absolutely opposed to the sale, and the Sothebys’ Parisian branch. This article, taking the case described above as a reference, intends to analyze the ethical considerations and lawfulness implied in the buying and selling of cultural property at auction. With this purpose in mind, the arguments held by both parties in this disagreement are analyzed. At the same time, the efficacy of national laws, international conventions, and regulations is considered, mainly with reference to the use of principles and ethical codes that seem to be applied when the law has no jurisdiction.

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Sinelli, Peter T. "Pre‐Columbian Art of the Caribbean. Lawrence Waldron, eds. Gainesville, FL: University of Florida Press, 2019. 406 pp." Journal of Latin American and Caribbean Anthropology 25, no. 1 (2020): 174–75. http://dx.doi.org/10.1111/jlca.12470.

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Saavedra, Leonora. "Carlos Chávez’s Polysemic Style:." Journal of the American Musicological Society 68, no. 1 (2015): 99–150. http://dx.doi.org/10.1525/jams.2015.68.1.99.

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The critical discourse on Carlos Chávez’s music is full of contradictions regarding the presence within it of signifiers of the Mexican, the pre-Columbian, and the indigenous. Between 1918 and 1928 Chávez in fact developed, from stylistic preferences that appeared early in his compositions, a polysemic language that he could use equally well to address the very modern or the primitive, the pre-Columbian or the contemporary mestizo, in and only in those works in which he chose to do so. Chávez’s referents emerged in dialogue with the cultural and political contexts in which he worked, those of post-revolutionary Mexico and modern New York. But he was attracted above all to modernism and modernity, and was impacted by cosmopolitan forces at home and abroad. By the end of the decade he had earned a position within the modern musical field’s network of social relations, and had drawn the attention of agents of recognition such as Edgard Varèse, Paul Rosenfeld, Aaron Copland, and Henry Cowell. These composers and critics added Chávez’s constructed difference to their much-sought collective difference as Americans within a European art. Chávez’s own use of explicit Mexican referents in some of his works shaped the early reception of his music as quintessentially American/Mexican, eventually influencing the way we understand it today.

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Juárez Nájera, Margarita, and Mariana Castellanos. "Elucidating the Visual Language of the Venus Table in the Dresden Codex: A Visual Semiotics Approach." Estudios de Cultura Maya 56, no. 2 (2020): 95–126. http://dx.doi.org/10.19130/iifl.ecm.2020.56.2.0004.

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The visual language of the paintings has undergone a theoretical and pragmatic process, which is different than that of textual linguistics. In this paper we propose a method of analysis based on semiotics to elucidate and compare the visual response of six paintings of the pre-Columbian Maya Dresden Codex. The Venus table was chosen because it presents a calendrical-astronomical message through a visual language that makes its interpretation complex. We consider that the visual semiotics of the Quebec School represented by Saint-Martin and Shannon´s entropic comparison of the Venus table paintings may be applied to both classical and contemporary pictorial works to support the work of art historians.

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Leona, Marco, Francesca Casadio, Mauro Bacci, and Marcello Picollo. "Identification of the Pre-Columbian Pigment Mayablue on Works of Art by Noninvasive UV-Vis and Raman Spectroscopic Techniques." Journal of the American Institute for Conservation 43, no. 1 (2004): 39–54. http://dx.doi.org/10.1179/019713604806112632.

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Fee, Sarah. "NOT FOR ART'S SAKE: An Early Exhibition of Pre-Columbian Objects at the Toledo Museum of Art, 1928-1929." Museum Anthropology 34, no. 1 (2011): 13–27. http://dx.doi.org/10.1111/j.1548-1379.2010.01104.x.

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Marino, Raul, and Marco Gonzales-Portillo. "Preconquest Peruvian Neurosurgeons: A Study of Inca and Pre-Columbian Trephination and the Art of Medicine in Ancient Peru." Neurosurgery 47, no. 4 (2000): 940–50. http://dx.doi.org/10.1097/00006123-200010000-00028.

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Bertelli, Antonio de Pádua. "Preconquest Peruvian Neurosurgeons: A Study of Inca and Pre-Columbian Trephination and the Art of Medicine in Ancient Peru." Neurosurgery 49, no. 2 (2001): 477. http://dx.doi.org/10.1097/00006123-200108000-00044.

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Marino, Raul. "Preconquest Peruvian Neurosurgeons: A Study of Inca and Pre-Columbian Trephination and the Art of Medicine in Ancient Peru." Neurosurgery 49, no. 2 (2001): 477–78. http://dx.doi.org/10.1097/00006123-200108000-00045.

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Pasztory, Esther. "Still Invisible: The Problem of the Aesthetics of Abstraction for Pre-Columbian Art and Its Implications for Other Cultures." Res: Anthropology and Aesthetics 19-20 (March 1990): 104–36. http://dx.doi.org/10.1086/resvn1ms20166829.

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Journal articles on the topic 'Art, Pre-Columbian'

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