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Het rijke erfgoed van gevarieerde en kleurrijke textielkunsten - weven, borduren, lussen, haken - in Guatemala is nu, door middel van dit boek, toegankelijk voor de wever van vandaag. De auteur, een professionele fotografe en schrijfster, heeft vele jaren in Midden-Amerika doorgebracht met het verzamelen van materiaal en het documenteren van de verschillende soorten stoffen die momenteel worden gemaakt. Het boek laat de mannen en vrouwen aan het werk zien die geweven kledingstukken en lappen stof maken, hun weefgetouwen en weefopstellingen en hun materialen. Er wordt speciale nadruk gelegd op de specifieke technieken die worden gebruikt om verschillende soorten stoffen te weven, met name aanvullende inslagpatronen, die lange tijd als de beste prestatie van de Guatemalteekse wevers werden beschouwd. Na een kort overzicht van de oorsprong en geschiedenis van het weven in Guatemala, bespreekt de auteur de achtergrond van het ambacht vandaag de dag, de levensstijl van de wever, het traditionele gebruik van het textiel en recente weeftrends. Het volgende hoofdstuk beschrijft de verschillende vezels die gebruikt worden in de textielproductie: hoe ze gesponnen en geverfd worden en welke soorten weefgetouwen en weefapparatuur gebruikt worden. De verschillende benaderingen van het weven in Guatemala worden beschreven en vergeleken in een lang hoofdstuk over het weven met de rugband (waaronder technieken die gebruikt worden in patroonweven, brokaat en gaas). Een hoofdstuk over weven op weefgetouwen toont de uitrusting en weeftechnieken voor onder andere platbinding, tapisserie en jacquardweven. De auteur beschrijft ook lussen, borduren, breien en haken voor het maken van tassen en netten. De conclusie beschrijft nieuwe richtingen in het weven in Guatemala. Het boek geeft zowel de glorie van de geproduceerde stoffen weer als een portret van het geduld, de vaardigheid en de veeleisende eisen van het weefambacht.
Rigt illustreret værk om tekstiler fra Guatemala. Om materialer, indfarvning og vævning samt om Guatemalas historie, specielt Maya-kulturenes indflydelse på tekstiltraditionerne
The vibrant character of Guatemala is most visible in its handwoven textiles, which are still in everyday use and readily available in native markets all over the country. A Textile Traveler's Guide to Guatemala is an excellent resource for discovering artisans, markets, shops, and those storied regional textile traditions. Geared to independent-minded travelers, this guide presents the safest and most accessible methods of travel, where and when to go, where to stay, and what to eat. Expert advice helps the traveler know what to look for, how to distinguish high-quality work, and how to bargain intelligently and ethically. With abundant photographs, this guide celebrates the color, joy, and energy of folklife in Guatemala.
Informative and beautifully illustrated.... It is both a detailed anthropological study, which delves into aspects of Mayan culture and examines historical and sociological forces brought to bear on Mayan communities of Guatemala, and a catalog of the stunning collections, containing descriptions of techniques, dying processes, and textile production. -- Booklist
"Guatemala is a land of contrasts: stunning mountain, river, and cloud forest landscapes with the constant threat of volcanic eruptions, mudslides, earthquakes, and brutal upheavals. Against this backdrop, the indigenous Maya and their Ladino compatriots persist in creating some of the loveliest and most colorful textiles the world has known. Their weaving, spinning, and basketmaking have sustained them economically and culturally against the pressures of change and a thirty-six year armed conflict that decimated their population. In Traditional Weavers of Guatemala, twenty artisans share their personal histories, hopes, and dreams along with the products of their hands and looms"--Inside cover.
The Maya Textile Tradition provides an in-depth look at the life and art of the Maya of southern Mexico and Central America. Some 145 stunning images, made by the award-winning photographer Jeffrey Jay Foxx and arranged in breathtaking color portfolios, capture the glorious Maya arts and culture as preserved since ancient times. The photographs combine with artful line drawings made especially for this book, an introduction by Linda Schele, co-author of the groundbreaking study of Maya civilization The Blood of Kings, and texts by four leading Mayanists to provide a unique portrait of these proud and vital people. Ecologist James D. Nations introduces us to the history and ecology of the Maya world; Guatemalan author and curator Linda Asturias de Barrios discusses how the old ways still guide the people in their farming, marketing, and weaving; textile specialist Margot Blum Schevill writes on innovation and change in Maya textile art; and anthropologist Robert S. Carlsen discusses ceremony and ritual in the Maya world.
Guatemala is one of the few places on earth where traditional textile arts from ancient cultures survive: Mayan spinners and weavers still produce the traditional motifs developed by their ancestors, but modern dyes add brilliant, luminous color to their textiles. This book presents 150 superb photographs by Gianni Vecchiato, providing a magnificent view of the textiles people, and daily life of Guatemala. It is truly a feast for the eye and spirit.
Traje, the brightly colored traditional dress of the highland Maya, is the principal visual expression of indigenous identity in Guatemala today. Whether worn in beauty pageants, made for religious celebrations, or sold in tourist markets, traje is more than "mere cloth"—it plays an active role in the construction and expression of ethnicity, gender, education, politics, wealth, and nationality for Maya and non-Maya alike. Carol Hendrickson presents an ethnography of clothing focused on the traje—particularly women's traje—of Tecpán, Guatemala, a bi-ethnic community in the central highlands. She covers the period from 1980, when the recent round of violence began, to the early 1990s, when Maya revitalization efforts emerged. Using a symbolic analysis informed by political concerns, Hendrickson seeks to increase the value accorded to a subject like weaving, which is sometimes disparaged as "craft" or "women's work." She examines traje in three dimensions—as part of the enduring images of the "Indian," as an indicator of change in the human life cycle and cloth production, and as a medium for innovation and creative expression. From this study emerges a picture of highland life in which traje and the people who wear it are bound to tradition and place, yet are also actively changing and reflecting the wider world. The book will be important reading for all those interested in the contemporary Maya, the cultural analysis of material culture, and the role of women in culture preservation and change.