Papers by Lisa DeLeonardis
Ethnohistory, Jul 1, 2011
Inka expansion into south coastal Peru (Chinchasuyu) is well documented in the archaeological rec... more Inka expansion into south coastal Peru (Chinchasuyu) is well documented in the archaeological record and in historical narratives that celebrate Inka achievements in Ica and Chincha. The lesser-known Pisco Valley equally benefited from Inka largesse as a result of a restructuring of the region by Thupa Inka, who is thought to have dispatched corps of occupational specialists (kamayuq) there. Centering on a group of kamayuq in Pisco, this research traces their movements and activities during and after Inka reign. Attention is drawn to their innovative transition from salt specialists to wine producers. The work contributes to a regional history of Pisco and offers a local perspective on the effects of the indigenous relocations instituted by Viceroy Francisco de Toledo. It attempts to unite and reconcile fragmentary historical sources about colonial Inka provincial peoples with the archaeological record and directs questions for future research.
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Boletín de arqueología PUCP, Nov 1, 2013
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Ñawpa pacha, Nov 18, 2013
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Pontificia Universidad Católica del Perú, 2013
Los paracas (900 a.C.-1 d.C.) son ampliamente reconocidos por su ceramica, que luce patrones de d... more Los paracas (900 a.C.-1 d.C.) son ampliamente reconocidos por su ceramica, que luce patrones de diseno que van desde la arcillaincisa hasta la pintura post coccion. El analisis de las vasijas, efigies, figurillas e instrumentos musicales intactos recuperados enlas tumbas centro durante mucho tiempo la atencion en asuntos cronologicos e iconograficos, y en la evaluacion del prestigio de lasmismas. Diversos contextos arqueologicos nos ofrecen una imagen alternativa de la ceramica y su significado en las esferas publicay domestica. En este trabajo, examinare el papel de la ceramica en ofrendas rituales y la analizare conjuntamente con las otrasformas y medios que la acompanaban. El contexto de estas ofrendas difiere de aquellos rituales funerarios en los cuales se enterraronobjetos enteros con los muertos. El analisis indica que el ciclo terminal de la ceramica era diverso, que ella era en esencia valoradaen sus formas entera y fragmentaria, y que su orientacion espacial era importante. Este articulo ofrece una nueva perspectiva decomo la ceramica, como sustancia, complementa a —e interactua con— los restantes materiales de las ofrendas, y como esto se transmite en la interpretacion que hacemos de iconografias y simbolos de diseno especificas, y sus significados respectivos.
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... Plate 9.3 La Compañía. Cuzco, Peru (photograph by Humberto Rodríguez-Camilloni; used with per... more ... Plate 9.3 La Compañía. Cuzco, Peru (photograph by Humberto Rodríguez-Camilloni; used with permission) Page 9. ... The designer and stone carver of the façade are unknown, but the work is clearly that of a master sculptor who employed diagonal cuts akin to wood carving. ...
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Latin American Antiquity, Dec 1, 2000
One of the most enigmatic aspects of decapitation practices among south coastal Peruvian Paracas ... more One of the most enigmatic aspects of decapitation practices among south coastal Peruvian Paracas and Nasca cultures (900 B.C.-A.D. 750) is the near absence of headless bodies in the archaeological record. Drawing on a case study of an Early Nasca, Phase 3 headless burial at Site PV62D13 in the lower Ica Valley, together with examples of headless interments reported in the literature, I examine the nature and disposition of headless burials. Three burial patterns, or forms, are proposed. The burial at PV62D13 is distinguished for its extended posture and interment in a non-cemetery setting and is proposed to be a dedicatory burial. Burial forms for disembodied heads are also examined, and over time, a notable increase in cached heads, buried without grave offerings is observed. Painted ceramic images of Nasca trophy heads and headless bodies are reviewed diachronically and a marked increase in decapitation scenes is noted for Late Nasca. Attention is drawn to the limited number of headless body images overall, and possible solutions to reconcile the visual imagery with the archaeological data are offered.
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Encyclopedia of the Bible Online, Apr 12, 2022
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Latin American & latinx visual culture, Apr 1, 2022
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The 86th Annual Meeting of the Society for American Archaeology, 2021
Plant Exudates and Other Binders, Adhesives and Coatings in the Americas. Symposium organized by ... more Plant Exudates and Other Binders, Adhesives and Coatings in the Americas. Symposium organized by Emily Kaplan and Christina Bisulca for 86th Annual Meeting of the Society for American Archaeology, San Francisco, CA. April 22-26, 2021 Blue on Clay: Indigo as a Colorant in Andean Post-Fired Ceramic Paints Abstract Indigo (Indigofera) is a recognized plant exudate employed in cloth dyes to produce the color blue. In Andean South America, indigoid dyes have been identified in textiles as early as ca. 4,200 BCE. While in other parts of the Americas the plant is utilized as a ceramic pigment (e.g.,“Maya Blue”), in the ancient Andes its use as a paint colorant is virtually unknown. In this paper, we discuss the results of our recent study that demonstrate the presence of the exudate in Paracas (ca. 900-100 BCE) post-fired ceramic paints. Also identified in the paint are uric compounds consistent with reptile excrement. Use of the mixture occurs during a transition period with the Nasca (100 BCE) in which innovations in architecture, iconography, and craft technology are evident. Our discussion centers on how the plant figures within the broader context of these social, iconographic, and technological changes. keywords: Indigo, plant exudate, pigment, THM-GC/MS, Micro-Raman, micro-FTIR, Paracas, Nasca, pottery technology, Andes Authors Lisa DeLeonardis, Austen-Stokes Professor, History of Art, Johns Hopkins University (SAA member, first author) Dawn Kriss, Associate Conservator, Department of Objects Conservation, Metropolitan Museum of Art Ellen Howe, Conservator Emerita, Department of Objects Conservation, Metropolitan Museum of Art Judith Levinson, Director of Conservation, Anthropology Division at American Museum of Natural History Adriana Rizzo, Research Scientist, Scientific Research, Metropolitan Museum of Art
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Andean past, 2005
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An academic directory and search engine.
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The 82nd Annual Meeting of the Society for American Archaeology, 2018
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Fuentes documentales para los estudios andinos 1530-1900, vol. III. , 2016
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Fuentes documentales para los estudios andinos 1530-1900, vol. II. , 2016
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Fuentes documentales para los estudios andinos 1530-1900, vol. II. , 2016
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Latin American & latinx visual culture, Apr 1, 2022
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The 86th Annual Meeting of the Society for American Archaeology, 2021
Plant Exudates and Other Binders, Adhesives and Coatings in the Americas.
Symposium organized by... more Plant Exudates and Other Binders, Adhesives and Coatings in the Americas.
Symposium organized by Emily Kaplan and Christina Bisulca for 86th Annual Meeting of the Society for American Archaeology, San Francisco, CA. April 22-26, 2021
Blue on Clay: Indigo as a Colorant in Andean Post-Fired Ceramic Paints
Abstract
Indigo (Indigofera) is a recognized plant exudate employed in cloth dyes to produce the color blue. In Andean South America, indigoid dyes have been identified in textiles as early as ca. 4,200 BCE. While in other parts of the Americas the plant is utilized as a ceramic pigment (e.g.,“Maya Blue”), in the ancient Andes its use as a paint colorant is virtually unknown. In this paper, we discuss the results of our recent study that demonstrate the presence of the exudate in Paracas (ca. 900-100 BCE) post-fired ceramic paints. Also identified in the paint are uric compounds consistent with reptile excrement. Use of the mixture occurs during a transition period with the Nasca (100 BCE) in which innovations in architecture, iconography, and craft technology are evident. Our discussion centers on how the plant figures within the broader context of these social, iconographic, and technological changes.
keywords: Indigo, plant exudate, pigment, THM-GC/MS, Micro-Raman, micro-FTIR, Paracas, Nasca, pottery technology, Andes
Authors
Lisa DeLeonardis, Austen-Stokes Professor, History of Art, Johns Hopkins University (SAA member, first author)
Dawn Kriss, Associate Conservator, Department of Objects Conservation, Metropolitan Museum of Art
Ellen Howe, Conservator Emerita, Department of Objects Conservation, Metropolitan Museum of Art
Judith Levinson, Director of Conservation, Anthropology Division at American Museum of Natural History
Adriana Rizzo, Research Scientist, Scientific Research, Metropolitan Museum of Art
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Papers by Lisa DeLeonardis
Symposium organized by Emily Kaplan and Christina Bisulca for 86th Annual Meeting of the Society for American Archaeology, San Francisco, CA. April 22-26, 2021
Blue on Clay: Indigo as a Colorant in Andean Post-Fired Ceramic Paints
Abstract
Indigo (Indigofera) is a recognized plant exudate employed in cloth dyes to produce the color blue. In Andean South America, indigoid dyes have been identified in textiles as early as ca. 4,200 BCE. While in other parts of the Americas the plant is utilized as a ceramic pigment (e.g.,“Maya Blue”), in the ancient Andes its use as a paint colorant is virtually unknown. In this paper, we discuss the results of our recent study that demonstrate the presence of the exudate in Paracas (ca. 900-100 BCE) post-fired ceramic paints. Also identified in the paint are uric compounds consistent with reptile excrement. Use of the mixture occurs during a transition period with the Nasca (100 BCE) in which innovations in architecture, iconography, and craft technology are evident. Our discussion centers on how the plant figures within the broader context of these social, iconographic, and technological changes.
keywords: Indigo, plant exudate, pigment, THM-GC/MS, Micro-Raman, micro-FTIR, Paracas, Nasca, pottery technology, Andes
Authors
Lisa DeLeonardis, Austen-Stokes Professor, History of Art, Johns Hopkins University (SAA member, first author)
Dawn Kriss, Associate Conservator, Department of Objects Conservation, Metropolitan Museum of Art
Ellen Howe, Conservator Emerita, Department of Objects Conservation, Metropolitan Museum of Art
Judith Levinson, Director of Conservation, Anthropology Division at American Museum of Natural History
Adriana Rizzo, Research Scientist, Scientific Research, Metropolitan Museum of Art
Symposium organized by Emily Kaplan and Christina Bisulca for 86th Annual Meeting of the Society for American Archaeology, San Francisco, CA. April 22-26, 2021
Blue on Clay: Indigo as a Colorant in Andean Post-Fired Ceramic Paints
Abstract
Indigo (Indigofera) is a recognized plant exudate employed in cloth dyes to produce the color blue. In Andean South America, indigoid dyes have been identified in textiles as early as ca. 4,200 BCE. While in other parts of the Americas the plant is utilized as a ceramic pigment (e.g.,“Maya Blue”), in the ancient Andes its use as a paint colorant is virtually unknown. In this paper, we discuss the results of our recent study that demonstrate the presence of the exudate in Paracas (ca. 900-100 BCE) post-fired ceramic paints. Also identified in the paint are uric compounds consistent with reptile excrement. Use of the mixture occurs during a transition period with the Nasca (100 BCE) in which innovations in architecture, iconography, and craft technology are evident. Our discussion centers on how the plant figures within the broader context of these social, iconographic, and technological changes.
keywords: Indigo, plant exudate, pigment, THM-GC/MS, Micro-Raman, micro-FTIR, Paracas, Nasca, pottery technology, Andes
Authors
Lisa DeLeonardis, Austen-Stokes Professor, History of Art, Johns Hopkins University (SAA member, first author)
Dawn Kriss, Associate Conservator, Department of Objects Conservation, Metropolitan Museum of Art
Ellen Howe, Conservator Emerita, Department of Objects Conservation, Metropolitan Museum of Art
Judith Levinson, Director of Conservation, Anthropology Division at American Museum of Natural History
Adriana Rizzo, Research Scientist, Scientific Research, Metropolitan Museum of Art