LOCATION
Sicán is an archaeological culture that was centered in the vast region of Lambayeque (composed Motupe valleys, La Leche, Lambayeque and Zana), and emerged around 750 AD, after the political collapse of the Moche. Lasted until the year 1375 AD, when the area was conquered by lambayecana Chimu Kingdom (Chimor), its southern neighbors.
STYLE NAMES
Because of its geographical center, this culture was initially named as Eten by archaeologist Max Uhle German and later Lambayeque Peru by researcher Rafael Larco Hoyle. However, until the beginning of Sicán Archaeological Project, an understanding of the Sican culture was limited to his artistic style and iconography, defined from funerary ceramics looted. Its cultural history was reconstructed on the basis of the assumed historical veracity of the myth of Naymlap and his dynasty, a story that was recorded at the beginning of the colony. While there are some commonalities between myth and archaeological data, it is controversial tendency to believe that the myth accurately reflect historical reality. However, this does not mean not continue to investigate the role of the origins of Naymlap Sicán or Lambayeque.
CERAMICA
manufacturing techniques used two vessels associated with distinct features and functionalities. The utilitarian vessels (eg pots and pans) were made with the technique of the palette, using paddle and anvil. The pallet not only build and strengthen the walls of the vessel, but also its exterior decorated with figurative and abstract designs. These designs highlight representing valuables thumbnails or icons, such as bottles double peak, the tumis, axes currencies (Known locally as "cards"), the sun, iguanas, cats sitting and Sicán God.
Meanwhile, f inas vessels (eg neck bottles of single and double peak) were developed and decorated using molds. These vessels were baked in ovens, oval, semi-closed, at a temperature ranging between 700 to 900 º C. Middle Sicán potters were distinguished by producing black pottery in a reducing atmosphere, with the likely use of llama dung as fuel. The technology of burning, along with the prestige of religious art Sicán Middle, seem to explain the rapid spread black finish and popularity in much of the coast, which supplanted the polychrome expansion imposed by the Wari-Pachacamac. Textiles
In the case of textiles, the few examples that have been recovered we illustrate the use of native natural color cotton and camelid wool fiber. It was remarkable knowledge of a variety of techniques such as tapestry, painted fabric, using colored pens, etc.. The god Sican or Naymlap appears frequently represented in the tapestries, and are remarkable painted cloth scrolls found in the tombs, which probably served to be placed on walls of architectural structures associated with the elite.
TUMI CEREMONIAL KNIFE SICAN METALLURGY AND SILVER
One of the most important legacies was his Middle Sicán metallurgical technology. Although their gold objects are attracting the most public attention was his successful large-scale smelting arsenical copper what distinguished Sicán metallurgy. Compared with pure copper, this alloy offers superior ductility (the ability of a material to be deformed without breaking), greater strength, hardness and corrosion resistance. Was used to produce a wide variety of utilitarian items (Eg, knives, needles, and instruments for digging). His casting was done in small, pear-shaped furnaces, using coal as fuel and air supplied by the human lung, through reeds supplemented with ceramic tubes. The burden of casting was made with copper ore, crushed rock with a (crappy) on an anvil stone stable (Fuller). The metal foundries are located throughout the Lambayeque region, and this large-scale production of arsenical copper was formed as the major driving force in the Middle Sicán economy.
Goldwork distinguished Sicán Middle by the unprecedented scale in the production and use of precious metals. The well-known ceremonial knives (tumis) and gold masks are Sicán objects looted from tombs of the elite. What is traditionally described as gold or gold alloy are alloys gold-silver-copper ranging from one to 21 carats. Alloys of less than 10 carats, are called Tumbaga. Following the tradition of the north coast, the gold Sicán emphasized the sheet metal work, using stone hammers and anvils. Embossed trim and were the main decorative techniques. To develop a variety of objects, goldsmiths Sicán produced a wide range of alloys, gold-silver-copper, with different mechanical properties and colors. The use and the accumulation of precious objects was a prerogative of the elite. The precious metal objects became the artistic standard, bearing the iconography Sicán Middle and being imitated by pottery and other crafts.
MASCARA SICAN
NEED MORE INFORMATION CIVILIZATION SICAN "CLIK"
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