The Tello Obelisk Monument from Chavan de Huantar

2047 WordsSep 9, 20159 Pages
: The Tello Obelisk Monument from Chavin de Huantar The Tello Obelisk is an Early Horizon monument in Chavin de Huantar filled with cultigen depictions featuring a pair of individual pairs flying in the shaman position while grasping particular sections of a rope with an artistic exhibition of early Andean iconography. The monument, a prismatic granite monolith, hails from the North Central part of Peru, an archaeological site known as Chavin de Huantar, featuring one of the most complex and unique stone carvings of American in its time-period. Chavin is located between the Cordillera Negra and Cordillera Blanca, on a pass to the high elevation valley that is situated along the Callejon de Huaylas (James 2-4). The Chavin de Huantar…show more content…
The four sides of the Tello Obelisk were curved to form a rectangular shaft, and Weistenmantel (68) asserts that the obelisk might have been “an object of a cult religion rather than being a the simple piece of artistic and architectural decoration” that people thought it to be. The caymans on the obelisk were sculptured with symbols of fish tails. The Tello Obelisk soot out for its evidential exhibition of the outstanding Chavin lithic art employed in the monument because of its breath-taking appearance, complex system of artistic and sculptural decoration, series of various terraces and squares as well as the elements of extraordinary beauty brought about by the anthromorphic, zoomographic iconographic artistic decoration (Rowe 47). Correlation of the Obelisk with the Old Temple is figuratively supported by Julio Tello’s stylistic comparison of the monument with the Lanzon, which was another key monolithic art at Chavin. The Lanzon, however, is still embedded in the compound of the Old Temple in Chavin as it secures its temporal placement. Rowe’s characterization of the monument at Chavin entails a representational and conventional meaning that results from its multiple conventions that make it difficult to decipher (James 8). The conventions include repetition, the artistic employment of standardized measures, symmetry, and metaphoric or substitutional representation for instance,

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