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| fixed length control field |
04507Cam#a22002777a#4500 |
| 001 - NÚMERO DE CONTROL |
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| campo de control |
BO-MUSEF-CDE-T-000047 |
| 003 - IDENTIFICADOR DEL NÚMERO DE CONTROL |
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| control field |
BO-LP-MUSEF |
| 005 - FECHA Y HORA DE LA ÚLTIMA TRANSACCIÓNION |
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20190723035718.0 |
| 008 - ELEMENTOS DE DATOS DE LONGITUD FIJA - INFORMACIÓN GENERAL |
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| campo de control de longitud fija |
201002|1988 xxu | ||| eng d |
| 040 ## - FUENTE DE CATALOGACIÓN |
|---|
| Agencia de catalogación original |
BO-LpMNE |
| 041 ## - CÓDIGO DE LENGUAJE |
|---|
| Código de idioma del texto |
eng |
| 082 ## - NÚMERO DE CLASIFICACIÓN DEWEY |
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| Número de clasificación |
666 |
| 092 ## - ASIGNACIÓN LOCAL DE SIGNATURA TOPOGRÁFICA DEWEY (OCLC) |
|---|
| Líbristica |
T-0013/Parte 1 |
| 100 1# - ENTRADA PRINCIPAL - NOMBRE PERSONAL |
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| Nombre personal |
Foster Cummins, Thomas Bitting. |
| 245 1# - MENCIÓN DE TÍTULO |
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| Título |
Abstraction to Narration Kero Imagery of Peru and the Colonial Ateration of Native Identity : |
| Subtítulo y título paralelo |
A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Art History. |
| 260 ## - PUBLICACIÓN, DISTRIBUCIÓN, ETC. |
|---|
| Lugar de publicación, distribución, etc. |
Los Angeles : |
| Nombre del editor, distribuidor, etc. |
University of California, |
| Fecha de publicación, distribución, etc. |
1988. |
| 300 ## - DESCRIPCIÓN FÍSICA |
|---|
| Páginas |
297 p. ; |
| Dimensiones |
29 cm. |
| 500 ## - NOTA GENERAL |
|---|
| Nota general |
empastado. |
| 500 ## - NOTA GENERAL |
|---|
| Nota general |
Fotocopia. |
| 500 ## - NOTA GENERAL |
|---|
| Nota general |
Contiene tres partes. |
| 505 ## - NOTA DE CONTENIDO CON FORMATO |
|---|
| Nota de contenido con formato |
Contenido: Kero Imagery: The art historical problem -- Iconographic Motifs -- The Problem -- Kero Imagery: The Relation of Image to Vessel -- The Iconographic Overview -- Category one: Tocapu/Figural Motif -- Category Two: Rainbow/Inca Motif -- Category Three: The Battle and/or Presentation Motif -- Category four: Inca and/or Coya Motif -- Category Five -- Tocapu Motif -- Category Six: Agricultural Motif -- Category Seven: The Dance Motif -- Category Eight: The Jungle Motif -- Conclusion -- The Unity of Iconography and Form -- Figural Stereotypes and Iconography -- Archaic Style and Its Relation to Kero Imagery -- The Subtext of From and Iconography -- The Primacy of Keros as Imperal Paradigm -- The Socio-Political Formation of Tahuantinsuyu -- The ayllu and the Inca -- The Political Hierarchy of the State -- Keros and Aquillas in Inca Production -- Kero Production: Artisans, Materials; Form and Design -- Wood, Metal, and Clay: The Common Production of Inca Craftsmen -- The Andean Feast as Social Expression and The Rise of the Inca State -- Keros and Drink in an Andean Feast -- The Ayllu Feast: Reciprocity and Authority -- The Inca Feast: The Rise of the State -- An Imperial Inca Feast and the Gift of Keros -- The Kero as Imperial Sign -- Keros and the Mythic Descent from Tiahuanaco -- Keros in Dynastic Origin Myths: Royal Marriage and Royal Investiture -- Keros and Submission to the Inca -- Keros and war: "In Hoc Signo Vinces" -- Kero Designs and Conquest -- Keros and the Imperial Transformation of Hanan and Hurin -- Hanan and Hurin: From Ayllu Menber to State Subject -- Kero Exchange: The Gift from Equality to Hierarchy -- The coming of Pizarro -- Colonial reality and kero imagery -- Continuity, Change, and Accommodation -- Kero Painting in the Early Colonial Period, 1522-1580, and its Relation to Inca Antecedents -- Colonization and Keros -- The Keros from Ollantaytambo -- Inca "History" Painting and early Colonial Painted Keros -- Perú 1532-1600, Early Colonial Relations and their Affect on Native Imagery -- Colonial Relations: 1532-1564 -- Perú 1564-1600: The Taqui Onkoy -- Reaction and Reform -- The Campaign against Paganism, Idolatry, and Drinking -- Iconoclasm in Perú -- From Icon to Iconography: The Shift in Native understanding of image, 1570-1610 -- Guaman Poma and the Independent Power of Native Colonial Imagery -- Kero Imagery Circa 1600: The Beginnings of a Native Pictorial Language -- Kero Painting within Colonial Bounds -- The Abstract and the Figural: Toward an Acceptable Image -- Kero Production in Colonial Perú -- Possibilities within prohibitions -- The market place: Coca, Chicha and Keros -- Coca: From the Sacred to the profane -- Chicha and the cost of a Drink -- Keros as a Commodity -- Production and kero Style -- The native Craftsman in the 17th Century and the Chronology of keros -- Drinking from Keros as a Social Sign -- Iconography and Identity: Chacra Yapuy Quilla -- Inkari-Collari -- Aymuray and the Tocapu/Figural Motif -- Arrieros and Coca Harvesting -- The Inca Anti Battle -- The Rainbow Motif -- Iconography and Meaning -- Images of the Inca in Colonial Perú and their Relation to Keros -- Object and Image: A Colonial Synthesis -- The Rainbow and Colonial Coats-of-Arms -- Portraits of Inca Kings -- Rainbows, Incas, and Curacas -- Social Ideal and Colonial Reality the Paradox of Kero Imagery -- Image and Context -- Curacas and Keros: The Image of the Community -- Ayllu Structure and Kero Imagery: The Real and the Ideal -- Conclusion: To Serve up a Community -- Appendix -- Bibliography -- plates. |
| 546 ## - NOTA DE IDIOMA |
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| Nota de idioma |
Inglès. |
| 850 ## - INSTITUCIÓN QUE POSEE EL ITEM |
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| Código de la institución |
BO-LpMNE |
| -- |
00000015 |
| 942 ## - ELEMENTOS DE ENTRADA AGREGADOS (KOHA) |
|---|
| Código de institución [OBSOLETO] |
BIB |
| Código de biblioteca catalogador |
BIB |
| Tipo de artículo Koha |
Tesis / Proyecto de Grado |
| Disponibilidad |
Proceso |
| Soporte |
|
| 901 ## - ELEMENTO DE DATOS LOCAL |
|---|
| Operador |
Nina, Carla |
