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Creator Nationality: North American; Central American; Mesoamerican
Creator Name-CRT: Peru, South Coast, Paracas Peninsula(?), Nasca style (100 BC-AD 700)
Title: Cloth with Procession of Figures
Title Type: Primary
Creation Start Date: -10
Creation End Date: 200
Creation Date: 100 BC-200
Object Type: Textiles
Classification Term: Textiles
Materials and Techniques: cotton, plain weave and pigment (field); camelid fiber, plain weave (border)
Dimensions: Overall: 69.8cm x 280.7cm
AMICA Contributor: The Cleveland Museum of Art
Owner Location: Cleveland, Ohio, USA
ID Number: 1940.530
Credit Line: The Norweb Collection
Provenance: said to have been excavated from the necropolis at Cerro Colorado on the Paracas Peninsula.
This Nasca cloth is among the most famous of surviving Andean textiles and one of the museum's great treasures. On it is painted a procession of figures interpreted as deities or humans impersonating deities. The procession's purpose is not clear, but its sacrificial overtones are. At the far left, a figure touches a human head with its tongue, and severed heads tip the streamers that flow from several other figures.
In Nasca art, severed heads seem to symbolize the life force used to promote nature's fertility. Procession, apparently a part of Nasca ceremonial life, perhaps had the same goal. For instance, we suspect that the Nasca lines-huge ground drawings of lines, geometric forms, and animals-were walked by processions during water rites, since the lines are like paths and often relate to nearby rivers (see photo).
Several of the figures wear feline mouthmasks, like the gold example shown with other Nasca art (to the right). One figure wears outspread wings, others a tunic (shirt) and either a triangular loincloth or a skirt, all items of male costume. The function of the cloth, a fragment that is incomplete along the upper edge, is unclear.
Aerial view of one group of Nasca lines that is nearly 2,800 feet long and apparently was created in stages, the spiral and zigzag before the straight line at the photo's center. The Nasca made the lines by removing a layer of dark rubble from the desert floor to expose a lighter underlayer. Photo by Marilyn Bridges from Markings: Aerial Views of Sacred Landscapes, p. 16, Aperture Foundation, New York, 1986
AMICA ID: CMA_.1940.530
AMICA Library Year: 2002
Media Metadata Rights:
Copyright, The Cleveland Museum of Art
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