Seller: vidurainc (860) 100%, Location: New York, New York, Ships to: Worldwide, Item: 321024893915 Details: For your consideration here a very rare and gorgeous Nazca pottery figure. Size an impressive 11 3/8" Circa 400 A.D. We can break down into payment plan if needed. (2 to 5 payments) Please email for more info. Unusually large, hollow pottery female figure seated with legs out in front and short, nubbin arms extended to the sides. The tan painted body bears black tattooing on thighs, pubic area, hips and buttocks. Fingers, toes hair and eyes painted black, relief nose and small, gouged mouth. Figure is nude and bears small breasts and anatomically correct genitals. reassembled from five or six, large, original pieces with professional restoration over the breaklines, minor pitting on buttock. Rare, impressive size. Please check out our other offerings of quality ancient art. Reasonably priced, current auction estimate is $6000 to $8000. Provenance Ex. Inner Splendor Private Collection, Ex. Arte Primitivo Ex Private Texas Collection. Piece will come with certificate of authenticity from Arte Primitivo. More about the Nazca The Nazca culture (also Nasca) was the archaeological culture that flourished from 100 to 800 CE beside the dry southern coast of Peru in the river valleys of the Rio Grande de Nazca drainage and the Ica Valley (Silverman and Proulx, 2002). Having been heavily influenced by the preceding Paracas culture, which was known for extremely complex textiles, the Nazca produced an array of beautiful crafts and technologies such as ceramics, textiles, and geoglyphs (most commonly known as the Nazca lines). They also built an impressive system of underground aqueducts, known as puquios, that still function today. The Nazca Province in the Ica Region was named for this people. Pottery: The Nazca culture is characterized by its beautiful polychrome pottery, painted with at least 15 distinct colors. The shift from post-fire resin painting to pre-fire slip painting marked the end of Paracas-style pottery and the beginning of Nazca-style pottery. The use of pre-fire slip painting meant that a great deal of experimentation took place in order to know which slips produced certain colors. Major pottery shapes include double-spout bottles, bowls, cups, vases, effigy forms, and mythical creatures. Archaeologists have excavated highly valued polychrome pottery among all classes of Nazca society, illustrating that it was not just the elite that had access to them. Commoners were able to obtain these goods through feasting and pilgrimages to Cahuachi. In addition, clays matching the chemical signature of polychrome pottery found all over the Southern Nazca Region have been found near Cahuachi. However, there is no substantial evidence of pottery production at Cahuachi. The site was most likely a redistribution center for ceramics (Vaughn and Neff, 2000). The Nazca pottery sequence has been divided into nine phases. Visual depictions found on pottery from Phase 1 (also called Proto-Nazca) incorporated realistic subject matter such as fruits, plants, people, and animals. Realism increased in importance in the following three phases (2, 3, 4) referred to as the Monumental phases. The pottery from these phases include renditions of their main subject matter against a bold red, black, or white background. In the next phase, Nazca 5, considerable experimentation occurred, including the addition of rays, volutes, and other "proliferous" attachments to the supernatural motifs on the vessels. Phase 5 is called Transitional, since it bridges the change in style between the naturalism of Phases 2-4 and the proliferous elements added to the motifs in Phases 6 and 7. Nazca 6, and 7 include some of the earlier motifs but also emphasizes militaristic ones, suggesting a shift in social organization. The motifs in these phases include abstract elements as part of the design. Large numbers of rays and tassels are appended to many of the designs, particularly those depicting mythical subjects, producing a visual impression of almost infinitely multiplied elements, an impression which accounts for the use of the term 'proliferous' (Roark 1965:2). Art found on pottery in relation to Nazca phases 6 and 7 also display an influence from the Moche culture of north coastal Peru. Finally, Nazca 8 saw the introduction of completely disjointed figures and a geometric iconography which is difficult to decipher. Phases 8 and 9 are now believed to date to the Middle Horizon, reflecting a shift in power from the coast to the highlands with the advent of the Wari culture about 650 CE. (Silverman and Proulx, 2002). The Nazca, like all other Pre-Columbian societies in South America including the Inca, had no writing system, in contrast to the contemporary Maya of Mesoamerica. The iconography or symbols on their ceramics served as a means of communication. The motifs depicted on Nazca pottery fall into two major categories: sacred and profane. The Nazca believed in powerful nature spirits who were thought to control most aspects of life. The Nazca visualized these nature spirits in the form of mythical beings, creatures having a combination of human and animal/bird/fish characteristics, and painted them onto their pottery. These Mythical Beings include such varieties as the Anthropomorphic Mythical Being, Horrible Bird, Mythical Killer Whale, Spotted Cat, etc. (Proulx 2006). Scenes of warfare, decapitation, and the ritual use of human trophy heads by shamans reflect other aspects of Nazca culture.