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Color and black-and-white photographs show the architectural changes over the years and highlight the collection housed inside Casa San Ysidro from the Spanish Colonial, Mexican, and Territorial periods including tinwork, ironwork, carpentry, weavings, Pu
Traces changes in Andean artists' vision of indigenous peoples as well as shifts in the critical discourse surrounding their work between 1920 and 1960.
With these attractive ethnic patterns from the Andes, knitters not only expand their design repertoire, they literally knit a connection with other cultures. The fabulous selection of 25 projects includes vibrant bags and other accessories based on the rich traditions of Argentina, Bolivia, Chile, Ecuador, and Peru. Knit fingerless mittens and a purse from Peru’s Ollantaytambo region. A wonderfully functional Argentinean felt bag fits around the waist and is perfect for holding money and other small belongings; a matching hat makes for an attractive ensemble. Or try making a chic and simple Chilean striped bag and scarf, or an adorable Bolivian purse in the shape of a llama. Every chapter offers interesting facts about the Andean people, history, and culture, too.
"This book presents artifacts - or artefactos - from everyday life, objects that have accompanied Colombian people through the centuries, both in their earthly and spiritual activities. In both English and Spanish, the word artifact means, literally, "made with skill or art." Although all worthy of museums and galleries, these are not just exhibition pieces, nor are their makers all members of a separate artisan class. There is no Colombian home, however humble, that does not have a handmade broom, stool, basket, textile, or rustic furniture; nor is there a single Amazon Indian who cannot quickly piece together a basket from leaves found in the jungle."--BOOK JACKET.
DIVAnalyzes Latin American and Caribbean folk art from a feminist perspective, considering the issue of gender in the production and circulation of popular art produced by women./div
From prehistory to the present, the Indigenous peoples of the Andes have used a visual symbol system—that is, art—to express their sense of the sacred and its immanence in the natural world. Many visual motifs that originated prior to the Incas still appear in Andean art today, despite the onslaught of cultural disruption that native Andeans have endured over several centuries. Indeed, art has always been a unifying power through which Andeans maintain their spirituality, pride, and culture while resisting the oppression of the dominant society. In this book, Mary Strong takes a significantly new approach to Andean art that links prehistoric to contemporary forms through an ethnographic understanding of Indigenous Andean culture. In the first part of the book, she provides a broad historical survey of Andean art that explores how Andean religious concepts have been expressed in art and how artists have responded to cultural encounters and impositions, ranging from invasion and conquest to international labor migration and the internet. In the second part, Strong looks at eight contemporary art types—the scissors dance (danza de tijeras), home altars (retablos), carved gourds (mates), ceramics (ceramica), painted boards (tablas), weavings (textiles), tinware (hojalateria), and Huamanga stone carvings (piedra de Huamanga). She includes prehistoric and historic information about each art form, its religious meaning, the natural environment and sociopolitical processes that help to shape its expression, and how it is constructed or performed by today’s artists, many of whom are quoted in the book.
Travel and holiday.
This title provides an in-depth and authoritative review of feeatherworking traditions in ancient Peru. The book includes a discussion of important recent discoveries, considerations of iconography, and basic technical characteristics of feather works.
Featuring approximately 145 of the most sumptuous and culturally significant Wari objects from collections in the United States, Peru, and Europe, and published to accompany the first exhibition in North America of their startlingly beautiful art An eminent ancestor of the better-known Inca, the Wari ascended to power in the south-central highlands of Peru in about AD 600, underwent a brief period of incandescently explosive growth, and then, by AD 1000, collapsed. Elite arts and the ideologies that informed them were among the Wari’s most prominent exports. From their capital, one of the largest archaeological sites in South America, they sent their religion along with elaborate objects and textiles out to highland provincial centers hundreds of miles to the north and south, and down into populous Pacific coastal areas to the west. The arts were crucial to the Wari’s political, economic, and religious communications: like other ancient Andean peoples, they did not write. The objects featured here cover the full range of Wari arts: elaborate textiles, which probably were at the core of their value systems; sophisticated ceramics of various styles; exquisite personal ornaments made of gold, silver, shell, or bone and often inlaid with precious materials; carved wood containers; and other works in stone and fiber.