empastado.

Fotocopia.

Contiene tres partes.

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.

Inglès.