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"This book explores the importance of textiles in Andean societies, past and present, as vital indicators of regional ideas about technique and technology, and the ways these interact with power relations, including gender and class relations. The focus is on Andean textiles from a weaver's point of view, as living things which express a complex three-dimensional worldview through their structures, techniques and iconography. These ontological conceptions are traced through the various tasks and processes in the productive chain of textile making, and the manifold ways in which the ideas about a finished textile product refer back continually to these shared experiences in Andean societies. Different thematic approaches examine how the material existence of textiles served, and still serves, as a record of technological knowledge, at the heart of human-centred efforts to integrate and coordinate diverse populations into socio-cultural and productive endeavours in common."--Page 4 of cover.
This second edition of Textile Conservation offers an up-to-date perspective on the role and practice of textile conservators, capturing the diversity of textile conservation work across the globe. The volume considers key factors that are integral to effective conservation decision-making. It achieves this by focusing on four major factors that have influenced development in textile conservation practice over the past decades: the changing context, an evolution in the way conservators think about objects, the greater involvement of stakeholders, and technical development. Features of the new edition include: Updated chapters that explain new techniques and recent developments in the field; New and updated international case studies that demonstrate conservation decision-making in practice, including assessments of the conservation of objects in some of the world’s major cultural institutions; Full-colour illustrations that demonstrate conservation in practice. Textile Conservation will be essential reading for conservators around the world. It will also be of great interest to academics and students engaged in the study of the conservation of textiles, as well as museum and heritage professionals.
This comprehensive reference offers an authoritative overview of Andean lifeways. It provides valuable historical context, and demonstrates the relevance of learning about the Andes in light of contemporary events and debates. The volume covers the ecology and pre-Columbian history of the region, and addresses key themes such as cosmology, aesthetics, gender and household relations, modes of economic production, exchange, and consumption, postcolonial legacies, identities, political organization and movements, and transnational interconnections. With over 40 essays by expert contributors that highlight the breadth and depth of Andean worlds, this is an essential resource for students and scholars alike.
There is widespread acknowledgement among anthropologists, archaeologists, ethnobotanists, as well as researchers in related disciplines that specific foods and cuisines are linked very strongly to the formation and maintenance of cultural identity and ethnicity. Strong associations of foodways with culture are particularly characteristic of South American Andean cultures. Food and drink convey complex social and cultural meanings that can provide insights into regional interactions, social complexity, cultural hybridization, and ethnogenesis. This edited volume presents novel and creative anthropological, archaeological, historical, and iconographic research on Andean food and culture from diverse temporal periods and spatial settings. The breadth and scope of the contributions provides original insights into a diversity of topics, such as the role of food in Andean political economies, the transformation of foodways and cuisines through time, and ancient iconographic representations of plants and animals that were used as food. Thus, this volume is distinguished from most of the published literature in that specific foods, cuisines, and culinary practices are the primary subject matter through which aspects of Andean culture are interpreted.
Along the coast of Peru is one of the driest deserts in the world. Here, under the sand, the ancient Peruvians buried their dead wrapped in gorgeous textiles. As organic material keeps almost forever when stored without humidity, light and oxygen, many of the mummies excavated in the last hundred years are in excellent conditions. And so are the textiles wrapped around them. Their clear colors are still dazzling and the textile fibers in good condition. Textiles were highly valued objects in ancient Peru - used for expressing status and diverse messages in these non-literate but highly organized and very developed cultures. Much energy, innovation and aesthetic sensibility were invested in the textiles. The preColumbian peoples had access to exquisite materials: the local fibers were camelid fibers (alpaca and vicuña), cotton and plant fibers (agave, for instance). The camelid fibers have very little scales compared to sheep fibers, and are long, soft and lustrous. The Peruvian cotton grew in 5 different colors. The ancient Peruvians were also master dyers and have for thousands of years dyed their yarn with indigo blue, madder red, cochineal red, sea snail purple and yellow from many kinds of plants. And so they produced some of the finest, most beautiful and most interesting textiles in the world. Instead of writing, they kept the order in their world encoded in textile fibers. The Roemer- and Pelizaeus-Museum in Hildesheim houses a collection of 405 preColumbian textiles. Most of them are fragments, but a few complete pieces are present. I have chosen 133 pieces for this publication, to represent the collection at its best.
"This unique volume illustrates and discusses in detail more than 160 extraordinary fine and decorative art works of the colonial Andes, including examples of the intricate Inca weavings and metalwork that preceded the colonial era as well as a few of the remarkably inventive forms this art took after independence from Spain. An international array of scholars and experts examines the cultural context, aesthetic preoccupations, and diverse themes of art from the viceregal period, particularly the florid patternings and the fanciful beasts and hybrid creatures that have come to characterize colonial Andean art."--Jacket.
In recent years, the study of textiles and culture has become a dynamic field of scholarship, reflecting new global, material and technological possibilities. This is the first handbook of specially commissioned essays to provide a guide to the major strands of critical work around textiles past and present and to draw upon the work of artists and designers as well as researchers in textiles studies. The handbook offers an authoritative and wide-ranging guide to the topics, issues, and questions that are central to the study of textiles today: it examines how material practices reflect cross-cultural influences; it explores textiles' relationships to history, memory, place, and social and technological change; and considers their influence on fashion and design, sustainable production, craft, architecture, curation and contemporary textile art practice. This illustrated volume will be essential reading for students and scholars involved in research on textiles and related subjects such as dress, costume and fashion, feminism and gender, art and design, and cultural history. Cover image: Anne Wilson, To Cross (Walking New York), 2014. Site-specific performance and sculpture at The Drawing Center, NYC. Thread cross research. Photo: Christie Carlson/Anne Wilson Studio.
Textile has been used as a medium of communication since the prehistoric period. Up until the 19th century, civilizations throughout the world manipulated thread and fabric to communicate in a way that would astound many of us now. Unlike text and images, textile is haptic and three-dimensional. Its meaning is unfixed, constantly shifting as it circulates between different owners and creators. In How Textile Communicates, Ganaele Langlois dissects textile's unique capacity for communication through a range of global case studies, before examining the profound impact of colonialism on textile practice and the appropriation of this medium by capitalist systems. A thought-provoking contribution to the fields of both fashion and communication studies, Langlois' writing challenges readers' preconceptions and shines new light on the profound impact of textiles on human communication.
The Material Culture of Basketry celebrates basketry as a culturally significant skilled practice and as a theoretically rich discipline which has much to offer contemporary society. While sometimes understudied and underappreciated, it has much in common with mathematics and engineering, art, craft and design, and can also act as a socially beneficial source of skill and care. Contributors show how local knowledge of materials, plants and place are central to the craft. Case studies include the skill in weaverbird nest building (challenging how we perceive learning in craft and nature), an engineer's perspective on twining Peruvian grass bridges, and the local knowledge embodied in Pacific plaited patterns and knots. Photo-essays explore materials and techniques from the point of view of artists, anthropologists and mathematicians, revealing how the structure and skill in basketwork illustrate a significant form of textile technology. Thus, the book argues that the textures, patterns and geometric forms that emerge through basketwork reflect an embodied knowledge which expresses mathematical and engineering comprehension. The therapeutic value of the craft is recognised through a selection of case studies which consider basketry as a healing process for patients with brain injury, mental health problems, and as a memory aid for people living with dementia. This reclaims basketry's significant role in occupational therapy as an agent of recovery and well–being. Finally, basketry's inherently sustainable nature is also considered, demonstrating the continuation of basketry in spite of handwork's general decline and profiling new and recycled materials. Above all the book envisages basketry as an intellectually rewarding means of knowing. It presents the craft as embodying care for skilled making and for the social and natural environments in which it flourishes.
Around 400 BCE, inhabitants of the Southern Andes took up a sedentary lifestyle that included the practice of agriculture. Settlements were generally solitary or clustered structures with walled agricultural fields and animal corrals, and the first small villages appeared in some regions. Surprisingly, people were also producing and circulating exotic goods: polychrome ceramics, copper and gold ornaments, bronze bracelets and bells. To investigate the apparent contradiction between a lack of social complexity and the broad circulation of elaborated goods, archaeologist Joan Gero co-directed a binational project to excavate the site of Yutopian, an unusually well-preserved Early Formative village in the mountains of Northwest Argentina. In Yutopian, Gero describes how archaeologists from the United States and Argentina worked with local residents to uncover the lifeways of the earliest sedentary people of the region. Gero foregounds many experiential aspects of archaeological fieldwork that are usually omitted in the archaeological literature: the tedious labor and constraints of time and personnel, the emotional landscape, the intimate ethnographic settings and Andean people, the socio-politics, the difficult decisions and, especially, the role that ambiguity plays in determining archaeological meanings. Gero’s unique approach offers a new model for the site report as she masterfully demonstrates how the decisions made in conducting any scientific undertaking play a fundamental role in shaping the knowledge produced in that project.