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Este MANUAL DE ARTE PRECOLOMBINO se ha concebido como una primera toma contacto con las principales culturas de la América prehispánica. A lo largo de sus páginas, que están estructuradas en nueve capítulos, el autor hace un repaso desde el arte rupestre hasta los logros artísticos de los grandes imperios que conocieron los españoles a su llegada al Nuevo Mundo. Se ha insistido también en las obras más significativas, dedicándoles comentarios pormenorizados, así como en ofrecer al lector una abundante bibliografía. Un manual, en definitiva, destinado principalmente a los alumnos del Grado de Historia del Arte, pero también a todas las personas interesadas en el mundo precolombino.
"Esta nueva publicación correspondea una larga tradición ininterrumpida de ediciones que el Museo Chileno de Arte Precolombino inició con el Banco O'Higgins, y que su sucesor legal, Banco Santiago, ha continuado, innovando su contenido sustancial y formal. Es destacable esta larga y prolífica colaboración entre dicha empresa bancaria y el Museo: a lo largo de 17 años, ella ha producido igual número de publicaciones, las que conforman un cuerpo imprescindible para el estudio y la difusión del arte precolombino americano. En esta ocasión de la pluma del notable arqueólogo peruano Luis Guillermo Lumbreras, presentamos un artículo sobre el contexto social en que está inserto el arte precolombino americano, ilustrado con objetos de nuestra colecciones. Se incluye también una reseña sobre los ideales que dieron origen al Museo Chileno de Arte Precolombino, su historia y perspectivas futuras."--Page 3.
From May 31st to June 4th, 2016, the 7th International European conference on pre-Columbian textiles was held in Copenhagen. This volume unites seven original articles on pre-Columbian textiles from Mexico, which compare information on 20th century finds first described by Alba Guadelupe Mastache with that from previously unpublished finds and recently discovered contexts. A unique chapter presents the technical analysis and replication of a pre-Columbian tunic recovered in a cave site in Arizona, at the northern margins of the Mesoamerican interaction sphere. Thirteen articles on archaeological textiles from the central Andes include analysis of both textile assemblages preserved in museum collections and those recovered during recent fieldwork in archaeological sites of the Andean desert coast. These include textile assemblages representing the Initial and Formative Periods, Paracas and Nasca contexts, the Middle Horizon, diverse late Intermediate Period assemblages and emblematic Inca garments.
The collaboration between the Textile Department of the University of Minho and the Brazilian Association of Studies and Research (ABEPEM) has led to an international platform for the exchange of research in the field of Fashion and Design: CIMODE. This platform is designed as a biennial congress that takes place in different European and Latin American countries with the co-organization of another university in each location. The current edition was jointly organized by the University of Minho and the Centro Superior de Diseño de Moda (CSDMM) - Universidad Politécnica de Madrid. CIMODE's mission is to explore fashion and design from a social, cultural, psychological and communication perspective, and to bring together different approaches and perceptions of practice, education and the culture of design and fashion. Through an interdisciplinary dialogue and intercultural perspective, CIMODE wants to generate and present new scenarios about the present and future of fashion and design. ‘DISEÑO AL REVÉS’ (‘BACKWARD DESIGN’) was the central theme of the 4th CIMODE (Madrid, Spain, 21-23 May 2018), which produced a highly topical and relevant number of academic publications presented in this book.
This book explores Violeta Parra’s visual art, focusing on her embroideries (arpilleras), paintings, papier-mâché collages and sculptures. Parra is one of Chile’s great artists and musicians, yet her visual art is relatively unknown. Her fusion of complex imagery from Chilean folk music and culture with archetypes in Western art results in a hybrid body of work. Parra’s hybridism is the story of this book, in which Dillon explores Parra’s ‘painted songs’, the ekphrastic nature of her creations and the way ideas translate from her music and poetry into her visual art. The book identifies three intellectual currents in Parra’s art: its relationship to motifs from Chilean popular and oral culture; its relationship to the work of other modern artists; and its relationship to the themes of her protest music. It argues that Parra’s commentaries on inequality and injustice have as much resonance today as they did fifty years ago. Dillon also explores the convergence between Parra’s art and the work of other modern twentieth-century artists, considering its links to Surrealism, Pop Art and the Mexican Muralism Movement. Parra exhibited in open-air art fairs, museums and cultural centres as well as in prestigious venues such as Museu de Arte Moderna do Brasil (the Museum of Modern Art in Brazil) and the Musée des Arts Décoratifs (Museum of Decorative Arts) in Paris. This book reflects on Parra’s socially-engaged work as it was expressed through her exhibitions in these centres as well as in through own cultural centre La carpa de la reina.