Tocapus Ceramics Queros

Amy Brown 1st February 2015

H i s t o r y o f T h e I n c a C i v i l i z a t i o n U n i v e r s i d a d S a n I g n a c i o D e L o y o l a

Inca Tocapus, Ceramics & Queros

Inca Tocapus, Ceramics & Queros Amy Brown February 1, 2015

2

Table of Contents

Introduction ............................................................................................................................. 2

Tocapus ..................................................................................................................................... 4

Aribalos ..................................................................................................................................... 6

Queros ........................................................................................................................................ 8

Last word .................................................................................................................................. 9

References ............................................................................................................................. 10


3

Introduction The Incas were very artistic people who created practical yet beautiful textiles and pottery. Inca art was inherited from cultures predating the Inca Empire by many years. They took what they thought was important and useful from them and perfected it adapting forms of art to their own needs and likes. The majority of designs were carried through from previous generations, with slight variety and improvement. Inca pottery, in particular, was much more advanced than that of its predecessors. The Inca people were skillful craftsmen, working in Ayllus each specialising in certain types of craft such as pottery or weaving. The designs also held a strong religious and symbolic meaning. Their production was taken to all parts of the empire and distributed, like a centralised economy. Creations were sourced from the natural materials available to them and were used in an artistic yet utilitarian way, producing things that were to be used in everyday life.


4

Tocapus The Inca textiles are widely recognised of great important to their culture and civilization. The designs are intricate and beautiful, incorporating political and spiritual aspects. Many of the garments created are known to have a particular identity associated with them, graphically representing social and economical rank, affiliations and royal status of the individuals who adorn them. It was compulsory for Incas to only wear the Tocapus that represented their social status, resulting in only few with the privilege of wearing them.

The Tocapus from the pre-‐Hispanic Inca are commonly small squares containing various designs and geometric forms, each with their own representation. Many of the designs were adopted and manipulated from previous cultures, in particular the Wari people. These squares were woven onto fabrics creating beautiful tapestry and important garments such as the men’s tunic, namely the Unku. They were also painted onto ceramics such as the Aríbalo and ceremonial drinking vessels known as Queros. Tocapus have also been discovered on metal objects, weapons, shell and precious stones.

The Tocapus are usually arranged in rows, made from one or more alternating designs. It is understood that the way in which the squares were ordered or arranged representative of the order of social status and importance. Furthermore, extensive research has concluded that the Tocapus may also have aspects of a written language yet to be interpreted. This system is similar to the Quipu, however there is very little understanding of the specific meaning of the Tocapu symbols and what they represent individually.

The Unku is a traditional Andean male tunic, a common garment that was worn on daily basis. The elite wore Unkus with Tocapus woven in different patterns, dependant on their status. These garments were known to be very restricted. Four major designs that have been identified include:

• The Inca key • Black-‐and-‐white

checkerboard • Diamond key • Tocapu waistband

The most common of these four designs are the Inca key and black-‐and-‐white checkerboard, worn by military and the elite.

The ‘Inca Key’ Checkerboard

Metal plaque of winged feline featuring belt of Tocapus


5

The manufacturing and distribution of textiles within the Inca Empire was of high importance to the culture. Not only to represent social standing and affiliation, but also used as a political currency. Possession of an enemy’s textile represented victory, linking a warrior’s success to his collection of garments. In

contrast to politics and society, the textiles also played an important role in the religious ceremonies of the Inca culture, also used to adorn the dead. Following the Spanish conquest, clothing restrictions became obsolete. The Spanish removed the strict regulations, allowing anyone to wear what they pleased. This completely obliterated the distinction of social rankings represented by clothing, changing the significance and style of the Unku dramatically. However, despite the modifications of textiles and designs over the many hundreds of years, the influence of the Incas is still present in the fabrics and tapestry of today.

Manco Capac illustrated in Unku featuring Tocapu waistband

No fixed order of Tocapus Zig Zag Tocapu pattern


6

Aríbalos The ceramics and pottery of the Incas were of great importance to the civilization. The discovery of certain ceramics has given archaeologists a great insight to the geographic and ritualistic aspects of the Inca culture. Many have interpreted communication systems through the visual aspects of the ceramics, very similar to that of the graphics and geometry present on the Tocapus.

The Incan Aríbalo is the most prevalent design of Incan ceramics. Its form is easily identified – a flared mouth, long neck, big body and conical base. The Aríbalo also features two handles on either side, commonly used to loop a rope through, allowing ease when transporting water and other beverages, most commonly chicha. The conical base was incorporated to allow the Aríbalo to establish a hole in the ground, keeping the vessel balanced and easier to pour. The decorations that adorn the Aríbalos are painted in various colours, commonly featuring brown, red, white, orange, yellow and black. Tocapus are also a typical feature. From the archaeological findings of Incan pottery, Aríbalos account for 39 percent with the next most common vessel type being the shallow plate. The size range of vessels that have been recovered is quite extreme, with the smallest

measuring at 5-‐10cm tall to the extra large measuring around 120cm in height, and a variety of sizes in between. Information indicates that the smaller vessels are linked to ritual and religious practices and associated with material well-‐being, prosperity, fertility and ancestor worship. Discovery of these smaller vessels has been more common is Cusco and also at various burial sites. The collection of smaller

Distinct features of the Aríbalo


7

vessels predominantly at the core of the empire indicates that perhaps the use of such vessels may have been an ethnic Inca tradition and not so much diffused among the subject population. Whilst the extra large Aríbalos are quite rare, the discoveries have been more predominant in the heartland of the empire. This suggests that these enormous vessels may have been intended for special occasions such as coronations and religious ceremonies held specifically in the capital. Typical Aríbalos contain one of three patterns:

• Central segment of concentric rhomboids vertically arranged and flanked on each side by rows of black triangles

• Central section of two vertical bands composed of double x and alternating bars alternated and flanked by a tree motif or rows of pending triangles

• Central section composed by horizontal rhomboids/diamonds Based on archaeological discoveries, the third pattern has proven to be the most popular, occasionally featuring alternative patterns such as zigzag lines. There have been many observations in regards to the symbolic meaning of these patterns. The predominant suggestion is that the patterns link metaphorically to the human body, with vertical patterns representing the spine. Another

considers a genealogical symbolism, referencing an individual as two halves -‐ the mother and the father. There is also a clear correspondence between the design features of men’s ‘Unkus’ and those of the Aríbalo. The observation of sizes and even decorative features

of the vessels discovered at particular locations could perhaps indicate the different traditions and ceremonial routines of the Incas depending on their geography.


8

Queros The Quero is another example of the Incas taking inspiration from their predecessors. Quero, often written as ‘Kero’ or ‘Qero’, originates from the Quechua word meaning ‘wood’ and was first created by the Tiwanaku culture, later to be adopted by the Incas. The ceremonial Quero cups were typically used in pairs as a custom for individuals to drink together. Both vessels would be identical in shape, size and design and were used to toast with chicha at ceremonies. This represented a strong religious association with the Quero, with chicha served as an important ritual beverage also connected to sacrificial ceremonies. Queros may also have been gifted with textiles as a sign of generosity. Originally made from mud and clay, Queros were later created from ceramic and decorated with bright colours; predominantly red, orange, white and black. The painted decorations also featured geometric patterns, quite often including Tocapus. Queros were later produced from carved wood.


9

Last word The art of the Incas has given historians and archeologists a more in-‐depth insight into their fascinating culture and way of life. As no written evidence was left behind from the Incas, everything we know about their lives has been passed on through generations from the interpretations and geology of artifacts discovered by archeologists. The Incas divine artistic skill has been a great gift to the descendants of their generation, allowing us even the slightest insight into the way that they lived, their ritual practices and rich culture that we are continually influenced by today.


10

References Burger , RL, Morris , C, Mendieta , RM, Pillsbury , J, Quilter , J 2007, Variations in the Expression of Inka Power : A Symposium at Dumbarton Oaks, Dumbarton Oaks Strong, M 2012, Art, Nature, and Religion in the Central Andes : Themes and Variations from Prehistory to the Present , University of Texas Press Cummins, TBF 2002, Toasts with the Inca : Andean Abstraction and Colonial Images on Quero Vessels , University of Michigan Press Jennings, J, Bowser, BJ 2009, ‘Drink, Power, and Society in the Andes’, University Press of Florida ‘Kero’, Wikipedia, 16 August 2014, retrieved 1/02/15, <http://en.wikipedia.org/wiki/Kero> Clados, C 2012, retrieved 31/01/15, <http://tocapu.org/index.php> Daly, M 2013, Capstone Research Paper, Georgia College, retrieved 31/01/15, <http://www.gcsu.edu/math/docs/2013Capstone/daly.pdf>

Tocapus Ceramics Queros

Documents

Transcript of Tocapus Ceramics Queros