Concise Oxford Dictionary of Archaeology (464 page)
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Authors: Timothy Darvill
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narthex
[Co].
[Co].
The comparatively narrow vestibule of an early Christian church which stretched along the whole width of the church at the west end. It was often adorned with mosaics or frescoes and three doors opened from the narthex into the church proper. When open these enabled catechumens and penitents (whose place was in the narthex) to hear the service in the church.
Narva Culture
[CP].
[CP].
Neolithic communities of the 4th and 3rd millennia
bc
living in the eastern Baltic littoral and beyond into Lithuania, Latvia, Estonia, parts of Poland and Belarus. Descendants of the
KUNDA CULTURE
they share much in common with their forebears, including a dependence on hunting and fishing. The material culture of the Narva Culture includes pointed-base pottery in straight-sided and S-profile forms.
bc
living in the eastern Baltic littoral and beyond into Lithuania, Latvia, Estonia, parts of Poland and Belarus. Descendants of the
KUNDA CULTURE
they share much in common with their forebears, including a dependence on hunting and fishing. The material culture of the Narva Culture includes pointed-base pottery in straight-sided and S-profile forms.
NASA
[Ab].
[Ab].
Nasca Culture
[CP].
[CP].
Early Intermediate Period farming communities which flourished in the valleys of Peru's southern coast
c.
ad 200–700. The most characteristic artefacts are the distinctive ceramics decorated in polychrome style in continuation of the local Paracas style. Up to sixteen colours were used, fixed during firing. Favoured motifs include the stylized biomorphs, such as the cat demon, and bodiless heads. On stylistic grounds nine main phases to the Nasca ceramic industry have been defined. In the early phases most communities lived in small villages adjacent to arable land. Later, many of these villages were abandoned as the population moved to nucleated centres, some of them defended.
Throughout, the dead were interred in extensive cemeteries, typically as cloth-wrapped mummies deposited in circular chambers approached from the surface by a shaft. The site of Cahuachi, Peru, was a ceremonial centre which also seems to have been used in all phases. Nasca Culture communities also made fine woven textiles, although their greatest artistic achievement is represented by the
NASCA LINES
.
c.
ad 200–700. The most characteristic artefacts are the distinctive ceramics decorated in polychrome style in continuation of the local Paracas style. Up to sixteen colours were used, fixed during firing. Favoured motifs include the stylized biomorphs, such as the cat demon, and bodiless heads. On stylistic grounds nine main phases to the Nasca ceramic industry have been defined. In the early phases most communities lived in small villages adjacent to arable land. Later, many of these villages were abandoned as the population moved to nucleated centres, some of them defended.
Throughout, the dead were interred in extensive cemeteries, typically as cloth-wrapped mummies deposited in circular chambers approached from the surface by a shaft. The site of Cahuachi, Peru, was a ceremonial centre which also seems to have been used in all phases. Nasca Culture communities also made fine woven textiles, although their greatest artistic achievement is represented by the
NASCA LINES
.
Nasca lines, Peru
[Si].
[Si].
A series of large-scale geoglyphs: straight lines, geometric shapes, and representational motifs on the surface of the desert plain in the Nasca region of southern Peru. The straight lines range in size from 500m to 8km in length and are up to 50m wide. The other motifs are up to 1.7km long. All were created by clearing the ground surface of stones to reveal a light-coloured soil beneath. Because of their size, all the images are best appreciated from the air.
Many of the straight lines radiate out from low hills or ridges. The representational motifs include giant animals such as spiders, humming birds, monkeys, and fish. They are similar to images depicted on Early Intermediate Stage Nasca Culture ceramics and textiles, and on this basis the markings are believed to date to the period ad 200–700. Various interpretations have been put forward: ceremonial pathways leading to sacred places; depictions of constellations in the night sky. There is no basis for Erich von Daniken's claim that the lines were set out to guide extraterrestrial astronauts to their landing strips.
[Sum.: H. Silverman and D. Browne , 1991, New evidence for the date of the Nazca lines.
Antiquity
, 65, 208–20]
Many of the straight lines radiate out from low hills or ridges. The representational motifs include giant animals such as spiders, humming birds, monkeys, and fish. They are similar to images depicted on Early Intermediate Stage Nasca Culture ceramics and textiles, and on this basis the markings are believed to date to the period ad 200–700. Various interpretations have been put forward: ceremonial pathways leading to sacred places; depictions of constellations in the night sky. There is no basis for Erich von Daniken's claim that the lines were set out to guide extraterrestrial astronauts to their landing strips.
[Sum.: H. Silverman and D. Browne , 1991, New evidence for the date of the Nazca lines.
Antiquity
, 65, 208–20]
natatio
[Co].
[Co].
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