GENERAL DESCRIPTION
The Nazca (Nasca) created textiles with a vibrant array of colors, similar to their ceramic arts, and refined this palette from the Early Intermediate Period (200 BCE-600 CE) through the Middle Horizon (600-1000 CE). This tunic reflects abstract and geometric motifs in alternating primary colors. It portrays animal figures with demarcated eyes, short limbs, and curled tails. Typical of late Nazca art, the abstract figures are set off with white tips and dark outlines. The dynamic fringe along the base was a popular feature that continued throughout ancient Andean cultural history.
Adapted from
Kimberly L. Jones, PhD, Inca: Conquests of the Andes / Los Incas y las conquistas de los Andes, Label text [1989.W.2252; 1976.W.2082; 1970.20.McD], 2015.
NOTES
- Nasca, Middle Horizon (Epoch I), A.D. 600-700, updated by KJones in TMS on 10/15/13, 11/29/13, and 06/19/14.
- Updated geography and dates in TMS to reflect Inca label -- Perú: south coast, A.D. 650–750.
Catalogue essays
- McDermott Art Fund
- A Conversation with Margaret McDermott, by Dorothy Kosinski (2003)
- Textiles at the Dallas Museum of Art
- Textile Production in the Andes
- Andean Orthography
- Colors, primary/secondary
Artist/designers
Cultures
Nazca (Nasca): AAT: 300017290
Geography
Peru (nation): TGN: 1000056
Nazca: TGN: 7033105
Process/materials
textiles (visual works): AAT: 300014063
textile materials: AAT: 300231565
camelidae (camelid) fiber: AAT: 300310434
weaving: AAT: 300053642
plain weave (process): AAT: 300312167
tabby (process): AAT: 300312167
warp: AAT: 300227930
weft: AAT: 300227934
tapestry (process): AAT: 300061981
interlocked tapestry: AAT: 300228526
fringe (trimming): AAT: 300227830
Historical periods
Middle Horizon Period: AAT: 300017300
Individuals
Subject terms
tunics (main garments): AAT: 300209869
red (color): AAT: 300126225
blue (color): AAT: 300129361
yellow (color): AAT: 300127794
black (color): AAT: 300130920
white (color): AAT: 300129784
geometric motifs: AAT: 300009764
stripes: AAT: 300010230
zigzags (geometric patterns): AAT: 300165028
squares (geometric figures): AAT: 300055637
figures (representations): AAT: 300189808
animals: DMA
RELATED OBJECTS
PROVENANCE
Until 1970: Edward L. Shaw, Buenos Aires, Argentina [1]
From 1970: Dallas Museum of Fine Arts, The Eugene and Margaret McDermott Art Fund, Inc., purchased from the above [1], [2], [3]
[1] The main source for this provenance is Acquisition Record (dated September 16, 1970), copy in Dallas Museum of Art Collections Records Object File, Confidential). Exceptions and other supporting documents are noted.
[2] The name of the Dallas Museum of Fine Arts, founded in 1933, was changed to the Dallas Museum of Art in 1983.
[3] Works of art given or purchased by The Eugene and Margaret McDermott Art Fund, Inc., a non-profit organization, are placed in the custody of the DMA for the purpose of public display on the premises of the Museum or in other recognized art galleries or museum. The title to all works of art purchased (or otherwise acquired) by the McDermott Art Fund remains with the Fund.
AUDIO ASSETS
VIDEO ASSETS
IMAGE ASSETS
WEB RESOURCES
ARCHIVAL RESOURCES
FUN FACTS
TEACHING IDEAS
RULES
Apply to objects where number equals 1970.20.McD
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General Description
The Nazca (Nasca) created textiles with a vibrant array of colors, similar to their ceramic arts, and refined this palette from the Early Intermediate Period (200 BCE-600 CE) through the Middle Horizon (600-1000 CE). This tunic reflects abstract and geometric motifs in alternating primary colors. It portrays animal figures with demarcated eyes, short limbs, and curled tails. Typical of late Nazca art, the abstract figures are set off with white tips and dark outlines. The dynamic fringe along the base was a popular feature that continued throughout ancient Andean cultural history.
Adapted from
Kimberly L. Jones, PhD, Inca: Conquests of the Andes / Los Incas y las conquistas de los Andes, Label text [1989.W.2252; 1976.W.2082; 1970.20.McD], 2015.
Fun Facts
Archival Resources
Web Resources
Notes
- Nasca, Middle Horizon (Epoch I), A.D. 600-700, updated by KJones in TMS on 10/15/13, 11/29/13, and 06/19/14.
- Updated geography and dates in TMS to reflect Inca label -- Perú: south coast, A.D. 650–750.
Catalogue essays
- McDermott Art Fund
- A Conversation with Margaret McDermott, by Dorothy Kosinski (2003)
- Textiles at the Dallas Museum of Art
- Textile Production in the Andes
- Andean Orthography
- Colors, primary/secondary
Artist/designers
Cultures
Nazca (Nasca): AAT: 300017290
Geography
Peru (nation): TGN: 1000056
Nazca: TGN: 7033105
Process/materials
textiles (visual works): AAT: 300014063
textile materials: AAT: 300231565
camelidae (camelid) fiber: AAT: 300310434
weaving: AAT: 300053642
plain weave (process): AAT: 300312167
tabby (process): AAT: 300312167
warp: AAT: 300227930
weft: AAT: 300227934
tapestry (process): AAT: 300061981
interlocked tapestry: AAT: 300228526
fringe (trimming): AAT: 300227830
Historical periods
Middle Horizon Period: AAT: 300017300
Individuals
Subject terms
tunics (main garments): AAT: 300209869
red (color): AAT: 300126225
blue (color): AAT: 300129361
yellow (color): AAT: 300127794
black (color): AAT: 300130920
white (color): AAT: 300129784
geometric motifs: AAT: 300009764
stripes: AAT: 300010230
zigzags (geometric patterns): AAT: 300165028
squares (geometric figures): AAT: 300055637
figures (representations): AAT: 300189808
animals: DMA
RELATED OBJECTS
PROVENANCE
Until 1970: Edward L. Shaw, Buenos Aires, Argentina [1]
From 1970: Dallas Museum of Fine Arts, The Eugene and Margaret McDermott Art Fund, Inc., purchased from the above [1], [2], [3]
[1] The main source for this provenance is Acquisition Record (dated September 16, 1970), copy in Dallas Museum of Art Collections Records Object File, Confidential). Exceptions and other supporting documents are noted.
[2] The name of the Dallas Museum of Fine Arts, founded in 1933, was changed to the Dallas Museum of Art in 1983.
[3] Works of art given or purchased by The Eugene and Margaret McDermott Art Fund, Inc., a non-profit organization, are placed in the custody of the DMA for the purpose of public display on the premises of the Museum or in other recognized art galleries or museum. The title to all works of art purchased (or otherwise acquired) by the McDermott Art Fund remains with the Fund.
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VIDEO ASSETS
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1970.20.McD
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object_notes_3_c-0080.xml.nores