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The University of Chicago Style, Aesthetics, and Politics: Polychrome Ceramic Iconography in the Tiwanaku Valley, Ad 500-1100 A

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The University of Chicago Style, Aesthetics, and Politics: Polychrome Ceramic Iconography in the Tiwanaku Valley, Ad 500-1100 A THE UNIVERSITY OF CHICAGO STYLE, AESTHETICS, AND POLITICS: POLYCHROME CERAMIC ICONOGRAPHY IN THE TIWANAKU VALLEY, AD 500-1100 A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE SOCIAL SCIENCES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF ANTHROPOLOGY BY JONAH MICHAEL FARES AUGUSTINE CHICAGO, ILLINOIS AUGUST 2019 Copyright © 2019 by Jonah Augustine All rights reserved For my mom, whom I miss. TABLE OF CONTENTS List of Figures................................................................................................................................ix List of Tables..............................................................................................................................xxxv Acknowledgements...................................................................................................................xxxvi Abstract.....................................................................................................................................xxxix Chapter 1: Tiwanaku History and Politics...................................................................................1 Definition of the Problem.........................................................................................1 What was Tiwanaku?................................................................................................4 Outline of the Dissertation.......................................................................................8 Chapter 2: Methods and General Results...................................................................................12 Previous Studies of Tiwanaku Ceramics: The Contours of a Horizon.........................12 The Middle Horizon................................................................................................12 Tiwanaku Hegemony and Style...............................................................................15 Methods of Analysis.........................................................................................................18 Ceramic Forms and Attributes...............................................................................20 Iconographic Analysis............................................................................................31 Tiwanaku Style in the Tiwanaku Valley.........................................................................37 Ceramic Forms.......................................................................................................38 Decoration and Iconography.................................................................................40 Concluding Remarks.......................................................................................................46 Chapter 3: Feasting Spaces and Materials within Tiwanaku’s Ceremonial Center................47 Feasting at Tiwanaku.......................................................................................................49 Archaeological Approaches to Feasting................................................................49 iv Tiwanaku Feasts: Evidence and Theory.................................................................51 The Politics of Feasting at Tiwanaku......................................................................55 Key Monuments and the Character of Tiwanaku Rituals.............................................58 The Semi-subterranean Temple: Ancestor Veneration within the Titicaca Basin...58 Kalasasaya: Tiwanaku’s Ritual Calendar..............................................................62 Pumapunku: The Gateway to the City....................................................................64 The Akapana Pyramid and Plaza Complex....................................................................67 Akapana: The Center Stage....................................................................................67 Akapana: Selection of Materials............................................................................71 Akapana West Plaza: The Orchestra......................................................................73 Akapana West Plaza: Selection of Materials..........................................................81 Concluding Remarks.......................................................................................................83 Chapter 4: The Political Effects of Ceramic Iconography and Visual Media within Tiwanaku’s Grand Rituals..............................................................................................85 Iconography and the Akapana Complex........................................................................86 Initial Hypothesis and Previous Studies.................................................................86 Overview of the Ceramic Data...............................................................................89 Iconographic Uniformity and Convergence at Tiwanaku.............................................92 Iconographic Uniformity........................................................................................97 Iconographic Convergence..................................................................................104 The Case of Motif MGa02.....................................................................................106 Production, Common Sense, and Mediation................................................................108 Production and Distribution................................................................................109 v Ritual, Sense, and Affect.......................................................................................111 Concluding Remarks.....................................................................................................114 Chapter 5: Ceramic Iconography and the Putuni Palace: Class, Ideology, and Aesthetics...116 Tiwanaku’s Elites: Class, Property, and the Division of Labor..................................116 Class and the Ayllu...............................................................................................117 Class Formation at Tiwanaku..............................................................................120 The Division of Labor...........................................................................................125 Tiwanaku’s Elites II: Status and Ideology....................................................................128 Elite Status and the Putuni Sector: Tiwanaku IV and V........................................129 Ideology in Stone and Ceramic.............................................................................132 Putuni Ceramics: Selection of Materials for Analysis and Results.............................142 Overview of Selection and General Results..........................................................142 Crafting and the Technology of Enchantment.............................................................149 Exceptional Vessels: Putuni and Pariti................................................................149 Aesthetics and Fetishism......................................................................................156 Concluding Remarks.....................................................................................................158 Chapter 6: Tiwanaku Style Beyond the Center.........................................................................160 Mollo Kontu: Between Center and Periphery..............................................................160 Mollo Kontu Residential Life: Tiwanaku Urbanism over Time............................161 Mollo Kontu Iconography: Visually Linking the Ritual and the Quotidian...........172 Iconography and Political Subjectivity: Intimacy, Production, and Play..................177 Tiwanaku Style in the Hinterland and Beyond......................................................178 Aesthetic Pleasure: Curation and Production......................................................185 vi Concluding Remarks.....................................................................................................196 Chapter 7: Conclusions and Tiwanaku’s Material Legacies...................................................197 The Fall of Tiwanaku and the Afterlives of its Material Culture...........................198 Appendix A: Analysis Forms and Ceramic Typology...............................................................201 A.1 Ceramic Analysis Forms.........................................................................................201 A.2 Codes Used in Ceramic Analysis Forms.................................................................202 A.3 Ceramic Typology...................................................................................................204 Appendix B: Motif Typology......................................................................................................209 B.1 Anthropomorphic Motifs........................................................................................209 Compound Icons...................................................................................................209 Heads...................................................................................................................209 Limbs....................................................................................................................213 B.2 Zoomorphic Motifs (Avian)....................................................................................214 Compound Icons...................................................................................................214
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