Чилийский музей доколумбового искусства. Место происхождения: берег Паракаса. Материал: ткань из хлопка, пигменты. Культура: Паракас. Период: 1000 – 600 гг. до н.э.
Первой одеждой человека в Андах, как и во многих других регионах мира, надо полагать, была набедренная повязка. Позднее к ней присоединилась и юбка. Именно в юбке изображены гигантские монолиты Тиауанако (фото 1).
Первой одеждой человека в Андах, как и во многих других регионах мира, надо полагать, была набедренная повязка. Позднее к ней присоединилась и юбка. Именно в юбке изображены гигантские монолиты Тиауанако (фото 1).
Другие скульптуры, такие, как, например, сидящие статуи Храма каменных голов, имеют лишь набедренную повязку.
Было ли ткачество в Тиауанако? Ответ на этот вопрос может быть только положительным. У столь высокоразвитой цивилизации ткачества не могло не быть. Но об этом ремесле культуры Тиауанако мне ничего неизвестно. Были ли ткани простыми, только чтобы прикрыть тело, или же они были декорированы прекрасными узорами?
Как одевались тиауанакцы в период расцвета этой культуры? Никаких тканых артефактов не сохранилось. Представление об одежде тиауанакцев можно было бы составить на основании изображений людей, сделанных в камне (скульптуры, фриз Врат Солнца).
По версии А. Познански, возраст Тиауанако – более 10 тыс. лет (возраст второго и третьего периодов). Во втором периоде была построена Каласасайя, а Врата Солнца – в третьем. Однако я все более убеждаюсь в том, что наиболее значимый из дошедших до нас артефактов – Врата Солнца, олицетворение Тиауанако, на самом деле были возведены уже после Рождества Христова, принадлежат к неочавинской культуре и являются воплощением оккупации Тиауанако ее представителями в период Империи Уари (600 – 850 гг. н.э.).
Что касается гигантских статуй, которые также могли бы быть источниками для изучения костюма культуры Тиауанако, то монолит Беннетта, по мнению А. Познански, в третьем периоде подвергся переделке и был покрыт новой резьбой. Я думаю, что то же самое произошло и с монолитом Понсе. А иконографию резьбы обеих статуй я считаю также неочавинской. Другими словами, и скульптурные монолиты представляют собой свидетельства иной культуры.
История Тиауанако после подчинения его Уари неразрывно связана с этой империей. И костюм элиты в регионе Тиауанако был таким же, какой был принят у представителей знати Уари. А ранее, в период расцвета Тиауанако, Уари входило в сферу его влияния. Возможно, уже тогда у знати обоих царств возникла общность в одежде. Костюму империи Уари посвящен материал «Кем были правители Уари?».
Искать изображения людей в одежде собственно культуры Тиауанако можно только в Храме каменных голов, который был построен до Каласасайи и считается самым древними и наилучшим образом сохранившимся. Однако оба храма продолжали использоваться на протяжении всей истории цивилизации вплоть до их разрушения и перестраивались и украшались в соответствии с потребностями времени. Но наиболее древняя скульптура Храма каменных голов – Бородатый монолит не была подвергнута переделке. Правда, монолит сделан из песчаника и поэтому сохранился очень плохо. О том, во что он одет, можно только гадать. А головы храма, понятно, могут дать представление и то весьма отдаленное лишь о головных уборах. Поэтому вопрос об одежде культуры Тиауанако остается открытым.
image005Фото 2. Ложка с человеческой фигурой, которая использовалась во время ритуалов для приема галлюциногенных веществ. Размеры: 2,60×17,60 см. Материал: золото. Перу, Северное высокогорье, Чавин-де-Уантар(?). Стиль: Чавин (1000 – 200 гг. до н.э.). Дата: приблизительно 500 – 200 гг. до н.э. Кливлендский музей искусств, США.
Представители другой мощной цивилизации Анд – чавинской, о которой сохранилось гораздо больше материальных свидетельств, ходили в одной набедренной повязке, что считали не зазорным показывать на золотых изделиях (фото 2), резьбе на раковинах спондилуса и на керамических скульптурах культового назначения. Культуру Чавина датируют периодом 1200/1500 г. до н.э. – 200 г. н.э., а по неофициальным данным, ей, как и Тиауанако более 10 тыс. лет. О ткачестве Чавина известно мало, но все же археологические данные имеются. Остатки ткаческого производства и фрагменты тканей были найдены на побережье, в сухом климате которого текстиль сохраняется несравненно лучше, чем в горной местности у озера Титикака, где располагается Тиауанако. На основе этих находок археологи пришли к заключению о том, что, используя хлопок и шерсть, ремесленники Чавина изготавливали ковры и ткани. Они могли быть простыми, а также украшенными вышивкой и бахромой.
Вот, что пишет о ткачестве Чавина Галина Ершова, старший научный сотрудник Института археологии РАН, директор Центра мезоамериканских исследований им. Ю.В. Кнорозова РГГУ:
«Несмотря на временную отдаленность этой культуры, в распоряжение археологов попали предметы, свидетельствующие и о достижениях древних ткачей. Конечно, сохранилось не так много образцов цветных тканей. Но и этим находкам мы обязаны жаркому климату пустынного побережья. Ткани в основном сохранились в погребениях – это погребальные покрывала, которые изготовлялись с особой тщательностью. Фрагментов одежды под этими покрывалами пока достоверно не обнаружено. Возможно, что было не принято одевать мертвых в одежду живых, чтобы облегчить им возрождение. Но не исключено, что основная одежда представляла собой простейшие варианты использования прямоугольных полотен – наподобие пончо. Даже в изображениях на керамических изделиях мы редко видим детали одеяний, за исключением головных уборов. А отличить пончо от погребального покрывала зачастую практически невозможно.
Большинство сохранившихся тканей изготовлено из хлопка. Нити ровной толщины сучились с помощью глиняного веретена. В большинстве случаев прямоугольные полотна ткались с помощью двух перекрещивающихся основ и двух утков. Основным фоном были тканые полосы или клетка, наподобие шотландки, коричневого и белого сырцового цветов. Для цветных и сложных рисунков использовались дополнительные техники – вышивание или даже элементы ковроткачества. Сюжеты цветных рисунков на тканях, изображающие кондоров и кошачьих, полностью совпадают с изображениями на керамике, мелкой пластике и рельефных панелях. Сохранилось совсем мало образцов изделий из очень тонкой ткани, наподобие марли или газа».
image021 image007Фото 3 и 3а. Фрагмент расписанного текстиля. Размеры: 62×21 см.
Материал: ткань из хлопка, пигменты. Культура: Паракас. Период: 1000 – 600 гг. до н.э.
Чилийский музей доколумбового искусства.
Место происхождения: берег Паракаса.
Материал: ткань из хлопка, пигменты. Культура: Паракас. Период: 1000 – 600 гг. до н.э.
http://vicuna.ru/index.php/aymara/trajes/traje-historico/parte-i/
Vamos compartilhar.
image021 image007Фото 3 и 3а. Фрагмент расписанного текстиля. Размеры: 62×21 см.
Материал: ткань из хлопка, пигменты. Культура: Паракас. Период: 1000 – 600 гг. до н.э.
Чилийский музей доколумбового искусства.
Место происхождения: берег Паракаса.
Материал: ткань из хлопка, пигменты. Культура: Паракас. Период: 1000 – 600 гг. до н.э.
Наиболее ценными находками являются тканые артефакты, обнаруженные на Южном побережье Перу. Узорные композиции в хорошо узнаваемом стиле Чавина выполнены на тканях при помощи росписи. Это может свидетельствовать о том, что ткачество и вышивание в Чавине еще не были достаточно развиты для того, чтобы передавать символические узоры большой сложности на уровне, достойном этого царства.
image009Фото 4. Фрагмент расписанной ткани. Размеры: 50×47 см. Материал: хлопок, пигменты. Культура: Чавин. Период: 900 – 700 гг. до н.э. Вероятное место находки: Каруа (Carhua), Южное побережье Перу. Чилийский музей доколумбового искусства.
Найденные фрагменты относят к так называемому стенному текстилю, которым покрывали стены гробницы. Сотканы они из хлопка. Возможно, самым древним является фрагмент, изображающий верховное божество Чавина с жезлами (фото 3). Чуть позднее, но в той же стилистике и на ту же тему, выполнены ткани, уцелевшие фрагменты которых показаны на фото 4 и 5.
image011Фото 5. Фрагмент расписанной ткани. Размеры: 27,4×78,5 см. Материал: хлопок, пигменты. Культура: Чавин. Период: Ранний горизонт, 800 – 700 гг. до н.э. Институт «Исследовательская библиотека и коллекция Думбартон-Оакса», Вашингтон, США.
Как свидетельство, представляющее большую историческую ценность, рассматривается учеными стенной текстиль, заснятый на фото 6. Он изображает «календарную структуру, возможно, связанную с циклом звезд, которая отмечает сезоны и соответствующие им ежегодные сельскохозяйственные церемонии».
image013Фото 6. Стенной текстиль. Размеры: 116×70 см. Материал: хлопок, пигменты. Культура: Чавин. Период: 900 – 700 гг. до н.э. Вероятное место находки: Кальандо-Уйухальа (Callando-Huyujalla), долина Ики, Южное побережье Перу. Чилийский музей доколумбового искусства[9]
Видимо, в одном захоронении с текстильным календарем был обнаружен покров (исп. manto, англ. mantle) с бахромой (фото 7), также расписанный в духе Чавина.
image015Фото 7. Расписанный покров. Размеры: 116×70 см. Материал: хлопок, пигменты. Культура: Чавин. Период: 900 – 700 гг. до н.э. Вероятное место находки: Кальандо-Уйухальа (Callando-Huyujalla), долина Ики, Южное побережье Перу. Чилийский музей доколумбового искусства.
Очевидно, что стенной текстиль не являлся одеждой. О том, что в Чавине тканая одежда все же была, свидетельствуют две керамические скульптуры (фото 8 и 9), которые, как мне кажется, изображают не божеств и не правителей. Хотя, по логике вещей, тканая одежда могла быть доступна лишь элите.
image017Фото 8. Антропоморфная бутыль стремя-горлышко. Размеры: 24×13 см. Материал: керамика. Период: 900 – 700 гг. до н.э. Чилийский музей доколумбового искусства[11]. Фото 9. Бутыль стремя-горлышко: женщина с кошачьим. Размеры: 23,3×13,8 см. Материал: керамика. Период: Горизонт Чавина. Поздний период становления. 900 – 200 гг. до н.э. Чилийский музей доколумбового искусства.
Что касается костюмов божеств Чавина, то они изображены в основном в летных комбинезонах (фото 8).
image019Фото 10. Абрис резьбы северной колонны Портала соколиных Нового храма Чавин-де-Уантара
- See more at: http://vicuna.ru/index.php/aymara/trajes/traje-historico/parte-i/#sthash.wyF7DMSM.dpuf
fonte: @edisonmariotti #edisonmariotti
Cultura e conhecimento são ingredientes essenciais para a sociedade.
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--br
Museu Chileno de arte pré-colombiana.
Lugar de origem: Praia Paracas. Material: tecido de algodão, pigmentos. Cultura: Paracas. Período: 1000 - 600 anos. BC
Vestuário da primeira pessoa nos Andes, como em muitas outras regiões do mundo, suponho, era a tanga. Mais tarde, ela se juntou, e saia. Foi mostrado em uma saia gigantes monólitos de Tiwanaku (foto 1).
Outras esculturas, como, por exemplo, sentado estátua de pedra do templo cabeças têm apenas uma tanga.
Ele estava tecendo em Tiwanaku? A resposta a esta pergunta só pode ser positivo. Em tal tecelagem civilização altamente desenvolvida não poderia ser. Mas essa cultura Tiwanaku ofício eu não sei nada. Tem um pano simples, apenas para cobrir o corpo, ou eles eram decoradas com belos padrões?
Como se vestir tiauanaktsy no auge dessa cultura? Não há artefatos tecidos foram preservados. Apresentação de roupas tiauanaktsev poderia ser elaborado com base em imagens de pessoas feitas em pedra (Escultura Frieze Porta do Sol).
De acordo com A. Poznanski, idade Tiwanaku -. Mais de 10 mil anos (idade dos segundo e terceiro períodos). No segundo período Kalasasaya foi construído, ea Porta do Sol - no terceiro. No entanto, estou cada vez mais convencido de que os artefatos existentes mais importantes - Porta do Sol, a personificação de Tiwanaku, de fato, foram erguidas após o nascimento de Cristo, pertencer a neochavinskoy cultura e encarnar a ocupação de Tiwanaku seus representantes durante o Império Wari (600 - 850 dC)..
Quanto às estátuas gigantes, que também poderia ser uma fonte para o estudo da cultura Tiwanaku traje, o monolito Bennett, na opinião do Poznanski, no terceiro período foi sujeito a alteração e estava coberto pelo novo segmento. Eu acho que a mesma coisa aconteceu com o monolito Ponce. A iconografia fio ambos os artigos, eu também acredito neochavinskoy. Em outras palavras, monólitos e esculturas são a prova de uma outra cultura.
História Tiwanaku após a sua subordinação à Huari está intimamente ligado com esse império. E terno Tiwanaku elite na região foi semelhante ao que foi adoptado pelos representantes da nobreza Huari. E ainda, no auge de Tiwanaku, Wari fazia parte da sua esfera de influência. Talvez até mesmo, em seguida, a nobreza de ambos os reinos surgiu roupa comum. Fato Huari Empire é dedicada ao material, "Quem eram os governantes de Huari?".
Busca de imagens de pessoas nas roupas de sua própria cultura apenas em Tiwanaku cabeças templo de pedra, que foi construído para o Kalasasaya, e é considerado o mais antigo e bem preservado. No entanto, tanto a igreja continuou a ser usado em toda a história da civilização até a sua destruição e reconstruído e decorado de acordo com as necessidades do momento. Mas as mais antigas esculturas do templo de pedra cabeças - monólito Bearded foi sujeito a alteração. A verdade é que o monólito é feita de arenito e, portanto, permaneceu muito ruim. Sobre isso, o que ele está usando, só podemos adivinhar. E o chefe do templo, é claro, pode dar uma idéia, e é muito distante apenas cerca de chapéus. Portanto, a questão sobre a cultura Tiwanaku roupas permanece em aberto.
image005Foto 2. Colher com a figura humana, que é utilizado durante os rituais para a recepção de substâncias alucinógenas. Dimensões:. 2,60 × 17,60 cm Material: ouro. Peru, Northern Highlands, Chavin de Huantar (?). Estilo: Chavin (1000 - 200 aC.). Data: cerca de 500 - 200 anos. BC Cleveland Museum of Art, EUA.
Representantes de outras civilizações poderosas do Andes - Chavin, que permaneceram provas muito mais material, foi para uma tanga, que não é considerado vergonhoso para mostrar em produtos de ouro (foto 2), escultura em escudos spondilusa e esculturas de cerâmica de finalidade religiosa. Cultura Chavin remonta ao período 1200/1500 BC - 200 dC, e de acordo com informações extra-oficiais, ele, como Tiwanaku mais de 10 mil anos.. Sobre tecendo Chavin pouco conhecido, mas a evidência arqueológica disponível. Restos de tecelagem fragmentos de produção e de tecidos foram encontrados na costa, em um clima seco que tecidos preservados muito melhor do que nas terras altas, perto do Lago Titicaca, que está localizado Tiwanaku. Com base nesses achados, os arqueólogos concluíram que, usando algodão e lã, artesãos Chavin produzidos tapetes e tecidos. Eles podem ser simples, e decorado com bordados e franjas.
Aqui ele escreve sobre tecelagem Chavin Galina Ershov, um membro sênior do Instituto de Arqueologia da Academia de Ciências, diretor do Centro de Estudos da Mesoamérica. Y. Knorozov RSHU:
"Apesar do afastamento temporário dessa cultura, os arqueólogos à disposição dos itens foram, e mostrando as realizações dos tecelões antigos. Claro, não há muitas amostras de tecidos coloridos. Mas estes resultados, somos obrigados ao clima quente da costa deserto. Os tecidos são principalmente preservada em enterros - um enterro cobertores que foram feitas com o maior cuidado. Fragmentos de roupas sob essas mantas não for detectado de forma confiável. É possível que não era costume de se vestir com as roupas do morto vivo, para facilitar a sua recuperação. Mas é possível que o vestuário básico é um simples telas rectangulares utiliza - tal como um poncho. Mesmo em imagens em cerâmica, raramente vemos os detalhes de peças de vestuário, exceto chapelaria. E para distinguir um poncho dos véus fúnebres muitas vezes quase impossíveis.
A maioria do tecido sobrevivente é feita de algodão. Threads suchilis mesmo espessura usando um eixo de barro. Na maioria dos casos, pano rectangular tecida por duas bases de intersecção e duas tramas. O principal fundo são listras ou uma célula, como xadrez, marrom e cores brancas de adobe tecido. Para cores e padrões complexos utilizadas técnicas adicionais - bordado, ou até mesmo elementos do tapete. Tópicos de desenhos coloridos em Tela que descreve condores e felinos são completamente consistente com as imagens em cerâmica, plásticos e painéis em relevo rasas. Ela sobreviveu bastante algumas amostras de produtos a partir de tecido muito fino, como musselina ou de gás. "
image021 image007Foto 3 e 3a. Detalhe de têxteis pintadas. Dimensões: 62 × 21 cm.
Material: tecido de algodão, pigmentos. Cultura: Paracas. Período: 1000 - 600 anos. BC
Museu Chileno de arte pré-colombiana.
Lugar de origem: Praia Paracas.
Material: tecido de algodão, pigmentos. Cultura: Paracas. Período: 1000 - 600 anos. BC
Os achados mais valiosos são artefatos encontrados na costa sul do Peru tecido. Composição modelada num estilo bem reconhecível Chavin realizada sobre os tecidos, com a ajuda da pintura. Isso pode indicar que a tecelagem e bordados em Chavin ainda não foi suficientemente desenvolvida, a fim de transmitir os padrões simbólicos de grande complexidade a um nível digno deste reino.
4. fragmento image009Foto pintado tecido. Dimensões:. 50 × 47 cm Material: algodão, pigmentos. Cultura: Chavin. Período: 900 - 700 anos. BC A localização provável da descoberta: Karua (Carhua), South Coast Peru. Museu Chileno de arte pré-colombiana.
Fragmentos encontrados é referido como os têxteis de parede que cobrem as paredes da tumba. Eles são tecidos de algodão. Talvez o mais antigo é um fragmento, que representa a divindade suprema de Chavin com cassetetes (foto 3). Um pouco mais tarde, mas no mesmo estilo e ao mesmo assunto, feita de tecido, sobrevivendo fragmentos de que são mostrados nas fotos 4 e 5.
image011Foto 5. Detalhe de pano pintado. Dimensões:. 27,4 × 78,5 cm Material: algodão, pigmentos. Cultura: Chavin. Período: Early Horizonte, 800 - 700 anos. BC Instituto "Biblioteca de investigação e recolha de Dumbarton Oakes", Washington, EUA.
Como prova disso, é de grande valor histórico, é considerado por cientistas têxteis de parede, filmado em uma foto 6. Ele mostra "a estrutura do calendário, possivelmente associado com o ciclo da estrela que marca as estações e sua correspondente cerimônia agrícola anual."
image013Foto 6. têxteis parede. Dimensões:. 116 × 70 centímetros Material: algodão, pigmentos. Cultura: Chavin. Período: 900 - 700 anos. BC A localização provável da descoberta: Kalando-Uyuhala (Callando-Huyujalla), Vale de Ica, Peru South Coast. Museo Chileno de Arte Precolombino [9]
Aparentemente, em um enterro com uma cobertura têxtil do calendário foi descoberto (em espanhol. Manto, Eng. Mantle) com franja (foto 7), também pintado no espírito de Chavin.
image015Foto 7. pintada capa. Dimensões:. 116 × 70 centímetros Material: algodão, pigmentos. Cultura: Chavin. Período: 900 - 700 anos. BC A localização provável da descoberta: Kalando-Uyuhala (Callando-Huyujalla), Vale de Ica, Peru South Coast. Museu Chileno de arte pré-colombiana.
É claro que a parede não era os têxteis de vestuário. O fato de que em Chavin tecidos vestuário ainda era, de acordo com duas esculturas de cerâmica (foto 8 e 9), que, parece-me, não retratam deuses e governantes. Embora, logicamente, tecidos vestuário poderia apenas ser disponibilizados elite.
8. image017Foto antropomórfico garrafa estribo-bico. Dimensões:. 24 × 13 cm Material: cerâmica. Período: 900 - 700 anos. BC Museu de arte pré-colombiana do Chile [11]. Foto 9. O gargalo do estribo: uma mulher com um felino. Dimensões:. 23,3 × 13,8 cm Material: cerâmica. Período: Horizon Chavin. Infância tarde. 900 - 200 anos. BC Museu Chileno de arte pré-colombiana.
Quanto aos trajes Chavin divindades, eles são representados principalmente em rompers (foto 8).
image019Foto 10. Contorno torre segmento norte de New Portal falcão templo de Chavin de Huantar
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--in
Chilean Museum of pre-Columbian art.
Place of Origin: Beach Paracas. Material: cotton cloth, pigments. Culture: Paracas. Period: 1000 - 600 years. BC.
The first person's clothing in the Andes, as in many other regions of the world, I suppose, was the loincloth. Later, she was joined, and skirt. It was shown in a skirt giant monoliths of Tiwanaku (photo 1).
Other sculptures, such as, for example, sitting statue temple stone heads have only a loincloth.
It was weaving in Tiwanaku? The answer to this question can only be positive. In such a highly developed civilization weaving could not be. But this craft culture Tiwanaku I know nothing. It has a simple cloth, only to cover the body, or they were decorated with beautiful patterns?
How to dress tiauanaktsy in the heyday of this culture? No woven artifacts have been preserved. Presentation of clothes tiauanaktsev could be drawn on the basis of images of people made in stone (Sculpture Frieze Gate of the Sun).
According to A. Poznanski, age Tiwanaku - more than 10 thousand. Years (age of the second and third periods). In the second period Kalasasaya was built, and the Gate of the Sun - in the third. However, I am more and more convinced that the most significant extant artifacts - Gate of the Sun, the personification of Tiwanaku, in fact, were erected after the birth of Christ, belong to neochavinskoy culture and embody the occupation of Tiwanaku its representatives during the Empire Wari (600 - 850 AD.).
As for the giant statues, which could also be a source for the study of costume Tiwanaku culture, the monolith Bennett, in the opinion of Poznanski, in the third period was subjected to alteration and was covered by the new thread. I think the same thing happened with the monolith Ponce. A thread iconography both articles, I also believe neochavinskoy. In other words, monoliths and sculptures are evidence of another culture.
History Tiwanaku after its subordination to the Huari is inextricably linked with this empire. And suit Tiwanaku elite in the region was similar to that which was adopted by the representatives of the nobility Huari. And yet, in the heyday of Tiwanaku, Wari was part of its sphere of influence. Perhaps even then the nobility of both kingdoms emerged common clothing. Suit Huari Empire is dedicated to the material, "Who were the rulers of Huari?".
Search for images of people in the clothes of their own culture only in Tiwanaku temple stone heads, which was built to the Kalasasaya, and is considered the most ancient and well-preserved. However, both the church continued to be used throughout the history of civilization up to their destruction and rebuilt and decorated in accordance with the needs of the time. But the most ancient sculpture temple stone heads - Bearded monolith was subjected to alteration. The truth is, the monolith is made of sandstone and therefore remained very bad. About that, what he's wearing, we can only guess. And the head of the temple, of course, can give an idea, and it is very distant only about hats. Therefore, the question about the clothing culture Tiwanaku remains open.
image005Foto 2. Spoon with the human figure, which is used during rituals for the reception of hallucinogenic substances. Dimensions: 2,60 × 17,60 cm. Material: gold. Peru, Northern Highlands, Chavin de Huantar (?). Style: Chavin (1000 - 200 BC.). Date: about 500 - 200 years. BC. Cleveland Museum of Art, USA.
Representatives of other powerful civilizations of the Andes - Chavin, which remained far more material evidence, went to a loincloth, which is not considered shameful to show on gold products (photo 2), carving on shells spondilusa and ceramic sculptures of religious purpose. Chavin culture dates from the period 1200/1500 BC - 200 AD, and according to unofficial information, it, like Tiwanaku more than 10 thousand. Years. About weaving Chavin little known, yet the archaeological evidence available. Remains of weaving production and tissue fragments were found on the coast, in a dry climate which textiles preserved much better than in the highlands near Lake Titicaca, which is located Tiwanaku. On the basis of these findings, archaeologists concluded that, using cotton and wool, artisans Chavin produced carpets and fabrics. They might be simple, and decorated with embroidery and fringe.
Here he writes about weaving Chavin Galina Ershov, a senior fellow at the Institute of Archaeology Academy of Sciences, director of the Center for Mesoamerican Studies. Y. Knorozov RSHU:
"Despite the temporary remoteness of this culture, archaeologists at the disposal of the items were, and showing the achievements of the ancient weavers. Of course, there are not many samples of colored fabrics. But these findings, we are obliged to the hot climate of the desert coast. Fabrics are mainly preserved in burials - a burial blankets that were made with the utmost care. Fragments of clothing under these quilts is not reliably detected. It is possible that it was not customary to dress in the clothes of the dead live, to facilitate their recovery. But it is possible that the basic clothing is a simple rectangular canvases uses - such as a poncho. Even in images on pottery, we rarely see the details of garments, except headgear. And to distinguish a poncho from the funeral veils often almost impossible.
Most of the surviving fabric is made of cotton. Threads suchilis even thickness using a clay spindle. In most cases, rectangular cloth woven by two intersecting bases and two wefts. The main background are woven stripes or a cell, such as plaid, brown and white adobe colors. For color and complex patterns used additional techniques - embroidery, or even elements of the carpet. Topics of colored drawings on fabric depicting condors and felines are completely consistent with the images on ceramics, plastics and shallow relief panels. It survived quite a few samples of products from very thin fabric, like muslin or gas. "
image021 image007Foto 3 and 3a. Detail of painted textiles. Dimensions: 62 × 21 cm.
Material: cotton cloth, pigments. Culture: Paracas. Period: 1000 - 600 years. BC.
Chilean Museum of pre-Columbian art.
Place of Origin: Beach Paracas.
Material: cotton cloth, pigments. Culture: Paracas. Period: 1000 - 600 years. BC.
The most valuable finds are woven artifacts found on the southern coast of Peru. Patterned composition in a well recognizable style Chavin performed on tissues with the help of the painting. This may indicate that the weaving and embroidery in Chavin has not yet been sufficiently developed in order to transmit the symbolic patterns of great complexity at a level worthy of this kingdom.
4. image009Foto fragment painted fabric. Dimensions: 50 × 47 cm. Material: Cotton, pigments. Culture: Chavin. Period: 900 - 700 years. BC. The likely location of the find: Karua (Carhua), South Coast Peru. Chilean Museum of pre-Columbian art.
Found fragments is referred to as the wall textiles that cover the walls of the tomb. They are woven from cotton. Perhaps the oldest is a fragment, depicting the supreme deity of Chavin with batons (photo 3). A little later, but in the same style and the same subject, made of fabric, surviving fragments of which are shown in photos 4 and 5.
image011Foto 5. Detail of painted cloth. Dimensions: 27,4 × 78,5 cm. Material: Cotton, pigments. Culture: Chavin. Period: Early Horizon, 800 - 700 years. BC. Institute "Research Library and Collection Dumbarton Oakes", Washington, USA.
As evidence, is of great historical value, is considered by scientists wall textiles, filmed on a photo 6. It shows "the calendar structure, possibly associated with the cycle of star that marks the seasons and their corresponding annual agricultural ceremony."
image013Foto 6. Wall textiles. Dimensions: 116 × 70 cm. Material: Cotton, pigments. Culture: Chavin. Period: 900 - 700 years. BC. The likely location of the find: Kalando-Uyuhala (Callando-Huyujalla), Valley of Ica, South Coast Peru. Museo Chileno de Arte Precolombino [9]
Apparently, in a burial with a textile cover the calendar was discovered (in Spanish. Manto, Eng. Mantle) with fringe (photo 7), also painted in the spirit of Chavin.
image015Foto 7. Painted cover. Dimensions: 116 × 70 cm. Material: Cotton, pigments. Culture: Chavin. Period: 900 - 700 years. BC. The likely location of the find: Kalando-Uyuhala (Callando-Huyujalla), Valley of Ica, South Coast Peru. Chilean Museum of pre-Columbian art.
It is clear that the wall was not the clothing textiles. The fact that in Chavin woven clothing was still, according to two ceramic sculptures (photo 8 and 9), which, it seems to me, does not depict gods and rulers. Although, logically, woven clothing could be made available only elite.
8. image017Foto Anthropomorphic stirrup-spout bottle. Dimensions: 24 × 13 cm. Material: ceramic. Period: 900 - 700 years. BC. Museum of pre-Columbian art of Chile [11]. Photo 9. The bottle-neck of the stapes: a woman with a feline. Dimensions: 23,3 × 13,8 cm. Material: ceramic. Period: Horizon Chavin. Late infancy. 900 - 200 years. BC. Chilean Museum of pre-Columbian art.
As for the costumes Chavin deities, they are represented mostly in rompers (photo 8).
image019Foto 10. Outline thread north tower of New Portal falcon temple of Chavin de Huantar
- See more at: http://vicuna.ru/index.php/aymara/trajes/traje-historico/parte-i/#sthash.wyF7DMSM.dpuf
--in
Chilean Museum of pre-Columbian art.
Place of Origin: Beach Paracas. Material: cotton cloth, pigments. Culture: Paracas. Period: 1000 - 600 years. BC.
The first person's clothing in the Andes, as in many other regions of the world, I suppose, was the loincloth. Later, she was joined, and skirt. It was shown in a skirt giant monoliths of Tiwanaku (photo 1).
Other sculptures, such as, for example, sitting statue temple stone heads have only a loincloth.
It was weaving in Tiwanaku? The answer to this question can only be positive. In such a highly developed civilization weaving could not be. But this craft culture Tiwanaku I know nothing. It has a simple cloth, only to cover the body, or they were decorated with beautiful patterns?
How to dress tiauanaktsy in the heyday of this culture? No woven artifacts have been preserved. Presentation of clothes tiauanaktsev could be drawn on the basis of images of people made in stone (Sculpture Frieze Gate of the Sun).
According to A. Poznanski, age Tiwanaku - more than 10 thousand. Years (age of the second and third periods). In the second period Kalasasaya was built, and the Gate of the Sun - in the third. However, I am more and more convinced that the most significant extant artifacts - Gate of the Sun, the personification of Tiwanaku, in fact, were erected after the birth of Christ, belong to neochavinskoy culture and embody the occupation of Tiwanaku its representatives during the Empire Wari (600 - 850 AD.).
As for the giant statues, which could also be a source for the study of costume Tiwanaku culture, the monolith Bennett, in the opinion of Poznanski, in the third period was subjected to alteration and was covered by the new thread. I think the same thing happened with the monolith Ponce. A thread iconography both articles, I also believe neochavinskoy. In other words, monoliths and sculptures are evidence of another culture.
History Tiwanaku after its subordination to the Huari is inextricably linked with this empire. And suit Tiwanaku elite in the region was similar to that which was adopted by the representatives of the nobility Huari. And yet, in the heyday of Tiwanaku, Wari was part of its sphere of influence. Perhaps even then the nobility of both kingdoms emerged common clothing. Suit Huari Empire is dedicated to the material, "Who were the rulers of Huari?".
Search for images of people in the clothes of their own culture only in Tiwanaku temple stone heads, which was built to the Kalasasaya, and is considered the most ancient and well-preserved. However, both the church continued to be used throughout the history of civilization up to their destruction and rebuilt and decorated in accordance with the needs of the time. But the most ancient sculpture temple stone heads - Bearded monolith was subjected to alteration. The truth is, the monolith is made of sandstone and therefore remained very bad. About that, what he's wearing, we can only guess. And the head of the temple, of course, can give an idea, and it is very distant only about hats. Therefore, the question about the clothing culture Tiwanaku remains open.
image005Foto 2. Spoon with the human figure, which is used during rituals for the reception of hallucinogenic substances. Dimensions: 2,60 × 17,60 cm. Material: gold. Peru, Northern Highlands, Chavin de Huantar (?). Style: Chavin (1000 - 200 BC.). Date: about 500 - 200 years. BC. Cleveland Museum of Art, USA.
Representatives of other powerful civilizations of the Andes - Chavin, which remained far more material evidence, went to a loincloth, which is not considered shameful to show on gold products (photo 2), carving on shells spondilusa and ceramic sculptures of religious purpose. Chavin culture dates from the period 1200/1500 BC - 200 AD, and according to unofficial information, it, like Tiwanaku more than 10 thousand. Years. About weaving Chavin little known, yet the archaeological evidence available. Remains of weaving production and tissue fragments were found on the coast, in a dry climate which textiles preserved much better than in the highlands near Lake Titicaca, which is located Tiwanaku. On the basis of these findings, archaeologists concluded that, using cotton and wool, artisans Chavin produced carpets and fabrics. They might be simple, and decorated with embroidery and fringe.
Here he writes about weaving Chavin Galina Ershov, a senior fellow at the Institute of Archaeology Academy of Sciences, director of the Center for Mesoamerican Studies. Y. Knorozov RSHU:
"Despite the temporary remoteness of this culture, archaeologists at the disposal of the items were, and showing the achievements of the ancient weavers. Of course, there are not many samples of colored fabrics. But these findings, we are obliged to the hot climate of the desert coast. Fabrics are mainly preserved in burials - a burial blankets that were made with the utmost care. Fragments of clothing under these quilts is not reliably detected. It is possible that it was not customary to dress in the clothes of the dead live, to facilitate their recovery. But it is possible that the basic clothing is a simple rectangular canvases uses - such as a poncho. Even in images on pottery, we rarely see the details of garments, except headgear. And to distinguish a poncho from the funeral veils often almost impossible.
Most of the surviving fabric is made of cotton. Threads suchilis even thickness using a clay spindle. In most cases, rectangular cloth woven by two intersecting bases and two wefts. The main background are woven stripes or a cell, such as plaid, brown and white adobe colors. For color and complex patterns used additional techniques - embroidery, or even elements of the carpet. Topics of colored drawings on fabric depicting condors and felines are completely consistent with the images on ceramics, plastics and shallow relief panels. It survived quite a few samples of products from very thin fabric, like muslin or gas. "
image021 image007Foto 3 and 3a. Detail of painted textiles. Dimensions: 62 × 21 cm.
Material: cotton cloth, pigments. Culture: Paracas. Period: 1000 - 600 years. BC.
Chilean Museum of pre-Columbian art.
Place of Origin: Beach Paracas.
Material: cotton cloth, pigments. Culture: Paracas. Period: 1000 - 600 years. BC.
The most valuable finds are woven artifacts found on the southern coast of Peru. Patterned composition in a well recognizable style Chavin performed on tissues with the help of the painting. This may indicate that the weaving and embroidery in Chavin has not yet been sufficiently developed in order to transmit the symbolic patterns of great complexity at a level worthy of this kingdom.
4. image009Foto fragment painted fabric. Dimensions: 50 × 47 cm. Material: Cotton, pigments. Culture: Chavin. Period: 900 - 700 years. BC. The likely location of the find: Karua (Carhua), South Coast Peru. Chilean Museum of pre-Columbian art.
Found fragments is referred to as the wall textiles that cover the walls of the tomb. They are woven from cotton. Perhaps the oldest is a fragment, depicting the supreme deity of Chavin with batons (photo 3). A little later, but in the same style and the same subject, made of fabric, surviving fragments of which are shown in photos 4 and 5.
image011Foto 5. Detail of painted cloth. Dimensions: 27,4 × 78,5 cm. Material: Cotton, pigments. Culture: Chavin. Period: Early Horizon, 800 - 700 years. BC. Institute "Research Library and Collection Dumbarton Oakes", Washington, USA.
As evidence, is of great historical value, is considered by scientists wall textiles, filmed on a photo 6. It shows "the calendar structure, possibly associated with the cycle of star that marks the seasons and their corresponding annual agricultural ceremony."
image013Foto 6. Wall textiles. Dimensions: 116 × 70 cm. Material: Cotton, pigments. Culture: Chavin. Period: 900 - 700 years. BC. The likely location of the find: Kalando-Uyuhala (Callando-Huyujalla), Valley of Ica, South Coast Peru. Museo Chileno de Arte Precolombino [9]
Apparently, in a burial with a textile cover the calendar was discovered (in Spanish. Manto, Eng. Mantle) with fringe (photo 7), also painted in the spirit of Chavin.
image015Foto 7. Painted cover. Dimensions: 116 × 70 cm. Material: Cotton, pigments. Culture: Chavin. Period: 900 - 700 years. BC. The likely location of the find: Kalando-Uyuhala (Callando-Huyujalla), Valley of Ica, South Coast Peru. Chilean Museum of pre-Columbian art.
It is clear that the wall was not the clothing textiles. The fact that in Chavin woven clothing was still, according to two ceramic sculptures (photo 8 and 9), which, it seems to me, does not depict gods and rulers. Although, logically, woven clothing could be made available only elite.
8. image017Foto Anthropomorphic stirrup-spout bottle. Dimensions: 24 × 13 cm. Material: ceramic. Period: 900 - 700 years. BC. Museum of pre-Columbian art of Chile [11]. Photo 9. The bottle-neck of the stapes: a woman with a feline. Dimensions: 23,3 × 13,8 cm. Material: ceramic. Period: Horizon Chavin. Late infancy. 900 - 200 years. BC. Chilean Museum of pre-Columbian art.
As for the costumes Chavin deities, they are represented mostly in rompers (photo 8).
image019Foto 10. Outline thread north tower of New Portal falcon temple of Chavin de Huantar
- See more at: http://vicuna.ru/index.php/aymara/trajes/traje-historico/parte-i/#sthash.wyF7DMSM.dpuf
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