Kero Cups Are One of the Only Art Forms Created by the That Survived the Spanish Conquest

Architecture of the Inca

The Inca uppercase city of Cusco is one of the finest examples of both traditional Inca and colonial architecture.

Learning Objectives

Describe the important architectural sights of the Incan Empire

Primal Takeaways

Key Points

• The Kingdom of Cuzco was a minor city-state of the Inca empire that served as the preeminent center of politics and faith.
• In 1535, the Spanish explorer Pizarro sacked much of the Inca city and congenital a new city over pre-colonial foundations.
• Because of its antiquity and importance, the center of the city retains many buildings, plazas, and streets from both pre-colonial and colonial times. These include the Temple of the Sun, the Cathedral of Santo Domingo, and the Plaza de Armas.
• Inca architecture is widely known for its fine masonry, which features precisely cut and shaped stones closely fitted without mortar ("dry").
• Machu Picchu is a 15th century Inca citadel situated on a mountain ridge nearly the city of Cusco; it is believed to have been built as an manor for the Inca emperor Pachacuti (1438–1472).

Key Terms

• plateresque: Pertaining to an ornate style of architecture of 16th century Kingdom of spain suggestive of silver plate.
• antiquity: Ancient times; former ages; times long since past.

Background: The Inca Empire

The Inca Empire was the largest empire in pre-Columbian America. The culture arose from the highlands of Peru sometime in the early on 13th century, and the authoritative, political, and military centre of the empire was located in Cusco in modern-day Peru. Its last stronghold was conquered by the Spanish in 1572.

Incan architecture is the most significant pre-Columbian architecture in Due south America. The Incas inherited an architectural legacy from Tiwanaku, founded in the 2nd century BCE in present-day Bolivia. The capital of the Inca empire, Cusco, still contains many fine examples of Inca compages, although many walls of Inca masonry have been incorporated into Spanish Colonial structures. The famous royal estate of Machu Picchu is a surviving example of Inca architecture; other significant sites include Saksaywaman and Ollantaytambo. The Incas likewise adult an extensive road system spanning most of the western length of the continent.

The Metropolis of Cusco

The Kingdom of Cusco was a pocket-sized urban center-state in the Inca empire. Scholars have established that the Inca did not occupy the area—previously inhabited by the ethnic people of the Killke civilisation—until afterward 1200 CE, nether the leadership of Manco Cápac. The Inca empire was divided into four suyus (regions) that met at the capital of Cuzco, which served as the preeminent eye of politics and religion. The Inca created the city of Cuzco in the shape of a puma, a shape nonetheless visible in modern aerial photographs.

A map of Cuzco, past East.G. Squier, c. 1860: The puma shape of the metropolis of Cusco is discernible, with the head at the upper left and the tail at the lower right.

Pizarro, the Castilian explorer and conqueror, sacked much of the city in 1535 during the Spanish invasion and congenital a new urban center over pre-colonial foundations. Because of its antiquity and importance, the eye of the city retains many buildings, plazas, and streets from both pre-colonial and colonial periods. Remains of the Palace of the Incas, the Temple of the Sun, and the Temple of the Virgins of the Sun even so stand. In some cases, the Inca buildings and foundations have proved to be stronger than the foundations built in nowadays-day Peru.

Characteristics of Inca Architecture

Inca architecture is widely known for its fine masonry, which features precisely cut and shaped stones closely fitted without mortar ("dry"). However, despite this fame, most Inca buildings were actually fabricated out of fieldstones or semi-worked stone blocks and clay gear up in mortar; adobe walls were as well quite common, usually laid over stone foundations. The material used in Inca buildings depended on the region; for case, in the coast they used large rectangular adobe blocks, while in the Andes they used local stones.

The almost mutual shape in Inca architecture was the rectangular building without any internal walls and roofed with wooden beams and thatch. In that location were several variations of this basic design, including gabled roofs, rooms with one or two of the long sides opened, and rooms that shared a long wall. Rectangular buildings were used for quite different functions in almost all Inca buildings, from humble houses to palaces and temples. Even so, there are some examples of curved walls on Inca buildings, mostly in regions exterior the central surface area of the empire. Two-story buildings were exceptional; when they were built, the second floor was accessed from the outside via a stairway or loftier terrain rather than from the first floor. Wall apertures—including doors, niches, and windows—usually had a trapezoidal shape; they could be fitted with double or triple jambs every bit a form of ornament. Other kinds of ornamentation were deficient; some walls were painted or adorned with metal plaques, and in rare cases walls were sculpted with small animals or geometric patterns.

The most common composite class in Inca architecture was the kancha, a rectangular enclosure housing three or more than rectangular buildings placed symmetrically around a central courtyard. Kancha units served widely dissimilar purposes as they formed the basis of elementary dwellings as well as of temples and palaces; furthermore, several kancha could be grouped together to form blocks in Inca settlements. A testimony of the importance of these compounds in Inca architecture is that the primal office of the Inca capital of Cusco consisted of large kancha, including Qurikancha and the Inca palaces. The best preserved examples of kancha are found at Ollantaytambo, an Inca settlement located along the Urubamba River.

Machu Picchu

Machu Picchu is a 15th century Inca citadel situated on a mount ridge 7,970 anxiety in a higher place sea level. Information technology is located in the Cusco region higher up the Sacred Valley, which is 50 miles northwest of Cuzco. Most archaeologists believe that Machu Picchu was built as an manor for the Inca emperor Pachacuti (1438–1472). Often mistakenly referred to as the "Lost City of the Incas" (a title more than accurately applied to Vilcabamba), it is the most familiar icon of Inca civilization. The Incas built the estate around 1450 but abased it a century afterward at the fourth dimension of the Spanish Conquest. Although known locally, information technology was not known to the Spanish during the colonial menstruum and remained unknown to the outside world until American historian Hiram Bingham brought it to international attention in 1911.

Machu Picchu was built in the classical Inca style, with polished dry-rock walls. Its 3 primary structures are the Inti Watana, the Temple of the Sun, and the Room of the Three Windows. About of the outlying buildings have been reconstructed in order to give tourists a better idea of how they originally appeared.

The site is roughly divided into an urban sector and an agricultural sector, and into an upper town and a lower town. The temples are in the upper town, while the warehouses are in the lower. The architecture is adjusted to the mountains: approximately 200 buildings are bundled on wide parallel terraces around an east-west primal square, and the various compounds are long and narrow in order to exploit the terrain. Sophisticated channeling systems provided irrigation for the fields. Rock stairways prepare in the walls allowed access to the different levels across the site. The eastern section of the city is thought to have been residential, and the western section, separated by the square, is believed to accept been for religious and formalism purposes. This western department contains the Torreón, a massive tower which may take been used every bit an observatory.

Machu Picchu: Machu Picchu is a 15th century Inca citadel situated on a mountain ridge 7,970 anxiety to a higher place body of water level.

Spanish Architecture Later on the Conquest

Later on the conquest and the destruction of the metropolis of Cusco, the Castilian built new structures over much of the Inca architecture. Some of the most noteworthy architectural sights in Cusco include the following:

• The Coricancha ("Golden Temple" or "Temple of the Sun," named for the gilt plates covering its walls) was the most important sanctuary dedicated to the Inti (the Sun God) during the Inca Empire. Over the foundation of the Coricancha, Spanish colonists built the Convent of Santo Domingo in the Renaissance style. The Convent exceeds the superlative of many other buildings in the metropolis.
• The Barrio de San Blas neighborhood includes houses built over Incan foundations, along with the oldest parish church in Cuzco. The church, built in 1563, houses a carved wooden pulpit that is considered the prototype of colonial era woodwork in the metropolis.
• The Convent and Church of la Mercad, founded in 1536, was a Spanish circuitous that was destroyed in an earthquake in 1650 and rebuilt in 1675. Modeling the Baroque Renaissance style, it contains choir stalls, paintings, and forest carvings from the colonial era.
• The Spanish Cathedral of Santo Domingo was built in phases between 1539 and 1664 on the foundations of the Inca Palace of Viracocha. The cathedral presents belatedly-Gothic, Baroque, and Plateresque interiors. Information technology also has a strong example of colonial goldwork and wood carving. It is well known for a Cusco School painting of the Concluding Supper depicting Jesus and the 12 apostles feasting on republic of guinea pig, a traditional Andean delicacy.
• The Plaza de Armas, known equally the "Square of the Warrior" in the Inca era, has been the scene of several important events in the history of this city, such as Pizarro'south annunciation of conquest over the city and the scene of the decease of Túpac Amaru II, the indigenous leader of the resistance. The Spanish built stone arcades around the plaza that endure to this day.
• La Iglesia de la Compaña de Jesus was congenital by the Jesuits over the foundations of the palace of the Inca ruler Huayna Capac. It is considered one of the best examples of the colonial baroque style in the Americas. Its façade is carved in stone, and its primary altar is made of carved forest covered with gold leaf.

Images of Cuzco: Height: Plaza de Armas; middle left: Temple of Coricancha; eye right: aerial view of Cusco; lesser left: Sacsayhuamán; bottom right: Cathedral of Cusco

Textiles of the Inca

The Incas were highly regarded for their textiles, which were influenced by the artistic works of the pre-Inca Chimú culture.

Learning Objectives

Talk over the importance of the Incan weaving tradition and its relation to before Chimú civilisation

Cardinal Takeaways

Key Points

• Inca textiles were widely manufactured for practical use, merchandise, tax drove, and decorative fashion.
• Textiles were widely prized within the empire—in role because they were somewhat hands transported—and were widely manufactured for taxation drove and merchandise purposes. Cloth and textiles were divided past course, with llama wool used in more than mutual clothing and the finer cloths of alpaca or vicuña wool reserved for regal and religious use. Specific designs and ornaments marked a person'southward condition and dignity.
• The weaving tradition was very important to Incas in the creation of elaborate woven headdresses.
• Wealthy Inca men wore big golden and silverish pendants hung on their chests, disks attached to their pilus and shoes, and bands effectually their arms and wrists. Inca women adorned themselves with a metal fastening for their cloak called a tupu.

Cardinal Terms

• cochineal: A vivid red dye made from the bodies of cochineal insects.
• tunic: A garment worn over the torso, with or without sleeves, and of various lengths reaching from the hips to the ankles.
• vicuña: A relative of the llama that lives in the high tall areas of the Andes.

Background: Chimú Textiles

The Incas were highly regarded for their textiles, influenced past the artistic works of the pre-Inca Chimú culture. The Chimú, who arose nigh 900 CE, were conquered in a campaign led by the Inca ruler Tupac Inca Yupanqui around 1470 AD.

The Chimú embellished their fabrics with brocades, embroidery, fabric doubles, and painted fabrics. Textiles were sometimes adorned with feathers, gold, or silver plates. Colored dyes were created from plants containing tannin, mole, or walnut; these dyes besides came from animals like the cochineal and minerals like clay, ferruginosa, and mordant aluminum. Garments were fabricated of the wool of four animals: the guanaco, llama, alpaca, and vicuña. The people likewise used varieties of cotton that grew naturally in 7 different colors. Clothing consisted of the Chimú loincloth, sleeveless shirts, modest ponchos, and tunics.

Textiles in the Inca Empire

Textiles were widely prized within the Inca empire—in part because they were somewhat easily transported—and were widely manufactured for tax drove and merchandise purposes. Cloth and textiles were divided among the classes in the Inca empire. Awaska was used for mutual clothing and traditional household use and was usually made from llama wool. Qunpi, a finer cloth, was divided into ii classes: it would either be made of alpaca wool and collected equally tribute for utilise past royalty, or it would exist woven from vicuña wool and used for purple and religious purposes. The finest textiles were reserved for the rulers as markers of their status. For example, Inca officials wore stylized tunics decorated with certain motifs, and soldiers of the Inca ground forces had specific uniforms.

Tupa Inca tunic from around 1550: An example of Inca textiles. Inca officials wore stylized tunics busy with sure motifs, while soldiers of the Inca army had specific uniforms.

The Weaving Tradition

The weaving tradition was very of import to Incas in the creation of beautiful and elaborate woven headdresses. Royalty was conspicuously distinguished through decorative clothes. Inca emperors, for example, wore woven hats trimmed with gold and wool tassels or topped with plumes or showy feathers. Incas too created elaborate feather decorations for men, such as headbands made into crowns of feathers, collars, and chest coverings. Wealthy Inca men wore large golden and silver pendants hung on their chests, disks attached to their hair and shoes, and bands around their arms and wrists. Inca women adorned themselves with a metallic fastening for their cloak called a tupu; the head of the tupu was decorated with paint or silver, gold, or copper bells.

Metalwork of the Inca

The Inca were well-known for their use of gold, silver, copper, bronze, and other metals for tools, weapons, and decorative ornaments.

Learning Objectives

Talk over the Incan use of copper, bronze, argent, gold, and other metals

Key Takeaways

Key Points

• Cartoon much of their metalworking style from Chimú art, the Incas used metals for utilitarian purposes likewise as ornaments and decorations.
• Copper and bronze were used for basic farming tools or weapons, while aureate and silvery were reserved for ornaments and decorations in temples and palaces of Inca royalty.
• Gilt was specially revered for its sunday-like reflective quality; the Inca people's reverence of gilded has much to practice with their worship of the sun and the sun god, Inti.
• Even though the Inca Empire contained many precious metals, the Incas did non value their metallic as much equally fine cloth.

Key Terms

• Chimú: A civilisation centered on Chimor, with the capital metropolis of Chan Chan (in the Moche Valley of present-day Trujillo, Peru), which arose well-nigh 900 CE and was conquered by the Inca around 1470 CE.
• metallurgist: A person who works in metal.
• Inca: A member of the grouping of Quechuan peoples of highland Peru who established an empire from northern Republic of ecuador to key Republic of chile before the Spanish conquest.

Background

The Inca were well known for their use of gold, silver, copper, bronze, and other metals. Cartoon much of their inspiration and style in metalworking from Chimú art, the Incas used metals for commonsensical purposes likewise as ornaments and decorations. Although the Inca Empire independent a lot of precious metals, still, the Incas did not value their metallic as much equally fine cloth.

Andean bronze bottle, ca. 1300–1532: While this canteen was most probable made by Chimú artisans, Inca metalworkers adopted similar characteristics.

Many metalworkers were taken dorsum to the capital city of Cusco subsequently the fall of Chimú to continue their metalworking for the emperor because of their expertise. As office of a revenue enhancement obligation to the commoners, mining was required in all the provinces, and copper, tin can, gold, and silverish were all obtained from mines or done from the river gravels.

Golden plaque from Chimú culture: The Incans adopted much of their metalworking characteristics from the metalwork of Chimú. Because of their expertise, many metalworkers were taken dorsum to the upper-case letter urban center of Cuzco to continue their metalworking for the emperor.

Tools and Weapons

Copper and bronze were used for bones farming tools or weapons, such equally sharp sticks for digging, club-heads, knives with curved blades, axes, chisels, needles, and pins. The Incas had no atomic number 26 or steel, so their armor and weaponry consisted of helmets, spears, and battle-axes made of copper, statuary, and wood. Metal tools and weapons were forged past Inca metallurgists and and so spread throughout the empire.

Ornaments and Decorations in Metalwork

The Inca people'southward reverence of aureate, in particular, had much to practise with their worship of the sun and the sun god Inti. Golden's sun-like reflective quality made the precious metal even more highly regarded. Gilt and silvery were used for ornaments and decorations and reserved for the highest classes of Inca society, including priests, lords, and the Sapa Inca, or emperor. Golden and silver were common themes throughout the palaces of Inca emperors likewise, and the temples of the Incas were strewn with sacred and highly precious metallic objects. Thrones were ornately decorated with metals, and royalty dined on aureate-plated dishes inlaid with decorative designs. Headdresses, crowns, ceremonial knives, cups, and ceremonial clothing were often inlaid with aureate or silver.

The Spanish Conquest and Its Effects on Incan Art

Subsequently the fall of the Inca Empire, many aspects of Inca culture were systematically destroyed or irrevocably changed past Spanish conquerors.

Learning Objectives

Evaluate the effects of the Spanish Conquest on the art and culture of the Inca

Fundamental Takeaways

Key Points

• Post-obit the Castilian Conquest, the Inca population suffered a dramatic and quick decline, largely due to disease and affliction. Many of those remaining were enslaved.
• Many aspects of Inca culture were systematically destroyed equally cities and towns were pillaged, resulting in the loss of vast amounts of traditional artwork, craft, and architecture.
• The introduction of Christianity greatly impacted the fine art of the region, which began to reflect Christian themes alongside and in place of traditional Inca designs.
• Pizarro, the Spanish explorer and conquistador who was responsible for destroying much of the city of Cusco in 1535, built a new European- style city over pre-colonial foundations.The Castilian too brought with them new techniques such equally oil painting on canvas, which fused with the artistic traditions of the region. This cultural melding could be seen in the works of the Cusco, Quito, and Chilote Schools.

Key Terms

• irrevocably: Beyond remember; in a manner precluding repeal.

Overview: The Spanish Conquest and the Fall of the Inca

The Castilian Conquest of the Inca Empire was catastrophic to the Inca people and civilisation. The Inca population suffered a dramatic and quick decline following contact with the Europeans. This decline was largely due to disease and illness such as smallpox, which is thought to accept been introduced by colonists and conquistadors. Information technology is estimated that parts of the empire, notably the Central Andes, suffered a population decline amounting to a staggering 93% of the pre-Columbian population by 1591.

As an effect of this conquest, many aspects of Inca culture were systematically destroyed or irrevocably changed. In improver to disease and population decline, a large portion of the Inca population—including artisans and crafts people—was enslaved and forced to work in the gold and silverish mines. Cities and towns were pillaged, along with a vast corporeality of traditional artwork, craft, and compages, and new buildings and cities were built by the Spanish on top of Inca foundations.

The execution of the Inca: Spaniards burning the Inca leader Atahualpa at the stake, following their conquest of the Inca people.

The Role of Christianity

Offset at the fourth dimension of conquest, fine art of the cardinal Andes region began to change as new techniques were introduced past the Castilian invaders, such as oil paintings on canvas. The spread of Christianity had a great influence on both the Inca people and their artwork too. Equally Pizarro and the Spanish colonized the continent and brought it under their command, they forcefully converted many to Christianity, and it wasn't long earlier the entire region was under Christian influence. Equally a result, early on art from the colonial period began to show influences of both Christianity and Inca religious themes, and traditional Inca styles of artwork were adopted and altered past the Spanish to incorporate Christian themes.

Spanish Compages

Pizarro, the Spanish explorer and conqueror who was responsible for destroying much of the urban center of Cusco in 1535, built a new European-style city over pre-colonial foundations. For instance, the Convent of Santo Domingo was congenital over the Coricancha ("Gilded Temple" or "Temple of the Sun," named for the aureate plates covering its walls), which had been the nigh of import sanctuary dedicated to the Inti (the Sun God) during the Inca Empire. The Convent was congenital in the Renaissance style and exceeds the height of many other buildings in the urban center.

The Convent and Church building of la Mercad were similarly modeled on the Bizarre Renaissance style, containing choir stalls, paintings, and forest carvings from the colonial era. The Cathedral of Santo Domingo was built on the foundations of the Inca Palace of Viracocha and presents belatedly-Gothic, Baroque, and Plateresque interiors; information technology likewise has a strong example of colonial goldwork and wood etching. La Iglesia de la Compaña de Jesus was later constructed past the Jesuits over the foundations of the palace of the Inca ruler Huayna Capac, and is considered one of the best examples of the colonial baroque mode in the Americas. Its façade is carved in stone, and its master altar is made of carved wood covered with gold leaf.

European Fashion Art

The bulk of artistic efforts after the initial conquest were directed at evangelism; a number of schools of painting emerged that exemplify this. Indigenous artists were taught European techniques only retained styles that were representative of their local sensibilities. During the 1700s and early on 1800s, the Spanish Bizarre artful was transplanted to key and Due south America and became especially influential, developing its ain variations in different regions.

The Cusco School

The Cusco School was a Roman Catholic art motion that began in Cusco, Republic of peru during the early colonial period. Initially developed by the Spanish to railroad train local artists in the European tradition for the purpose of proselytizing, the style shortly spread through Latin America to places equally distant as the Andes, as well as to the places in nowadays-24-hour interval Bolivia and Ecuador. Cusco is considered to be the start location where the Spanish systematically taught European artistic techniques such every bit oil painting and perspective to Indigenous people in the Americas. Bishop Manuel de Lollinedo y Angulo, a collector of European fine art, was a major patron of the Cusco School and acted as a patron to such prominent artists equally Basilio Santa Cruz Puma Callao, Antonio Sinchi Roca Inka, and Marcos Rivera. Cusco painting is characterized by exclusively religious subject matter; warped perspective; frequent utilise of the colors ruddy, yellow, and earth tones; and an abundance of aureate leaf. Artists often adapted the subject affair of paintings to include native flora and fauna. Nigh of the paintings were completed anonymously, a result of pre-Columbian traditions that viewed art as a communal undertaking.

Case of Cusco painting: Cusco painting is characterized by exclusively religious subject matter; warped perspective; frequent use of the colors cerise, yellowish, and earth tones; and an abundance of gilded leaf.

The Quito School

The Quito School (Escuela Quitena) adult in the territory of the Regal Audition of Quito during the colonial period. The artistic production of this menstruation was an important means of income for the area at the time. The Quito School was founded in 1552 by the Franciscan priest Jodoco Ricke, who transformed a seminary into an art schoolhouse to railroad train the first artists. The work of this flow represents a long process of mixed-heritage blending of indigenous people and Europeans, both culturally and genetically.

Quito Schoolhouse artworks are known for their combination of European and Indigenous stylistic features, including Baroque, Flemish, Rococo, and Neoclassical elements. The technique of encarnado, or the simulation of the color of man flesh, was used on sculptures to make them announced more realistic. Some other unique characteristic of the manner was the awarding of aguada, or watercolor paint, on top of aureate leaf or argent pigment, giving it a unique metallic sheen. The racial blending of the time is reflected aesthetically in Quito Schoolhouse artworks in figures with mixed European and Indigenous traits, both in features and clothing. Artists included local plants and animals instead of traditional European foliage, and scenes were located in the Andean countryside and cities.

Example of encarnado sculpture: The technique of encarnado, or the simulation of the color of homo flesh, was used on sculptures to make them appear more realistic.

The Chilote School

The Chilote Schoolhouse of religious imagery is another creative manifestation developed during the colonial menses by Jesuit missionaries with the purpose of evangelizing. The works of this style or movement reflect the aesthetics of blending typical of other schools in the Americas from this era. Examples of this style include the combination of European, Latin American, and Indigenous features, besides as local flora, fauna, and landscape.

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Source: https://courses.lumenlearning.com/boundless-arthistory/chapter/the-incas/

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