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Ancient Civilisation’ Through Displays: Semantic Research on Early to Mid-Nineteenth Century British and American Exhibitions of Mesoamerican Cultures
Structuring The Notion of ‘Ancient Civilisation’ through Displays: Semantic Research on Early to Mid-Nineteenth Century British and American Exhibitions of Mesoamerican Cultures Emma Isabel Medina Gonzalez Institute of Archaeology U C L Thesis forPh.D. in Archaeology 2011 1 I, Emma Isabel Medina Gonzalez, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis Signature 2 This thesis is dedicated to my grandparents Emma and Andrés, Dolores and Concepción: their love has borne fruit Esta tesis está dedicada a mis abuelos Emma y Andrés, Dolores y Concepción: su amor ha dado fruto Al ‘Pipila’ porque él supo lo que es cargar lápidas To ‘Pipila’ since he knew the burden of carrying big stones 3 ABSTRACT This research focuses on studying the representation of the notion of ‘ancient civilisation’ in displays produced in Britain and the United States during the early to mid-nineteenth century, a period that some consider the beginning of scientific archaeology. The study is based on new theoretical ground, the Semantic Structural Model, which proposes that the function of an exhibition is the loading and unloading of an intelligible ‘system of ideas’, a process that allows the transaction of complex notions between the producer of the exhibit and its viewers. Based on semantic research, this investigation seeks to evaluate how the notion of ‘ancient civilisation’ was structured, articulated and transmitted through exhibition practices. To fulfil this aim, I first examine the way in which ideas about ‘ancientness’ and ‘cultural complexity’ were formulated in Western literature before the last third of the 1800s. -
BOLETÍN DEL MUSEO CHILENO DE ARTE PRECOLOMBINO Volumen 26, Número 1, Enero-Junio 2021 ISSN: 0718-6894
Boletín del . Museo Chileno Santiago, Chile de Arte Precolombino BOLETÍN DEL MUSEO CHILENO DE ARTE PRECOLOMBINO Volumen 26, Número 1, enero-junio 2021 ISSN: 0718-6894 Editor M C J B R Pontificia Universidad Católica del Perú Museo Chileno de Arte Precolombino Lima, Perú [email protected] T D. D Coeditores Department of Anthropology M A Á Vanderbilt University, Nashville, Museo Chileno de Arte Precolombino [email protected] C B. D A C J Department of Anthropology Universidad Adolfo Ibáñez University of California, Los Angeles, [email protected] D F Coeditor gráco Consejo Nacional de Investigaciones Científicas y Técnicas V J Asociación de Investigaciones Antropológicas Universidad de Buenos Aires, Argentina Correctora de estilo I S V J G Instituto de Estudios peruanos Comité editorial Lima, Perú C A S Museo Chileno de Arte Precolombino X M [email protected] Instituto de Estudios Bolivianos F G S La Paz, Bolivia Universidad Adolfo Ibáñez [email protected] B M Centre de Recherche et de Restauration des Musées de France C S A París, Francia Museo Chileno de Arte Precolombino [email protected] E M J L M C Instituto Andino de Estudios Arqueológicos Departamento de Ciencias Históricas Lima, Perú Universidad de Chile [email protected] J P The Metropolitan Museum of Art M C O C Department of the Arts of Africa, Oceania and the Americas Pontificia Universidad Católica de Chile Nueva York, [email protected] M P C M M P Universidad Adolfo Ibáñez Sociedad Argentina de Antropología [email protected] Buenos Aires, Argentina Consejo editorial M S I A M Sociedad de Investigación del Arte Rupestre de Bolivia Museo Tumbas Reales de Sipán La Paz, Bolivia Lambayeque, Perú C M. -
PRATT-THESIS-2019.Pdf
THE UTILITARIAN AND RITUAL APPLICATIONS OF VOLCANIC ASH IN ANCIENT ECUADOR by William S. Pratt, B.S. A thesis submitted to the Graduate Council of Texas State University in partial fulfillment of the requirements for Master of Arts with a Major in Anthropology August 2019 Committee Members: Christina Conlee, Chair David O. Brown F. Kent Reilly III COPYRIGHT by William S. Pratt 2019 FAIR USE AND AUTHOR’S PERMISSION STATEMENT Fair Use This work is protected by the Copyright Laws of the United States (Public Law 94-553, section 107). Consistent with fair use as defined in the Copyright Laws, brief quotations from this material are allowed with proper acknowledgement. Use of this material for financial gain without the author’s express written permission is not allowed. Duplication Permission As the copyright holder of this work I, William S. Pratt, authorize duplication of this work, in whole or in part, for educational or scholarly purposes only. ACKNOWLEDGEMENTS Numerous people have contributed over the years both directly and indirectly to the line of intrigue that led me to begin this work. I would like to extend thanks to all of the members of my thesis committee. To Christina Conlee for her patience, council, and encouragement as well as for allowing me the opportunity to vent when the pressures of graduate school weighed on me. To F. Kent Reilly for his years of support and for reorienting me when the innumerable distractions of the world would draw my eye from my studies. And I especially owe a great deal of thanks to David O. -
Universidad De Cuenca Facultad De Artes Carrera
UNIVERSIDAD DE CUENCA FACULTAD DE ARTES CARRERA DE ARTES MUSICALES GUÍA DIDÁCTICA DE APRECIACIÓN MUSICAL PARA EL CUARTO AÑO DE EDUCACIÓN GENERAL BÁSICA EN BASE A INSTRUMENTOS ARQUEOLÓGICOS DE LA CULTURA CHORRERA TESIS PREVIA A LA OBTENCIÓN DEL TÍTULO DE LICENCIADO EN INSTRUCCIÓN MUSICAL AUTOR: DARÍO JAVIER MOLINA CHAPA DIRECTOR: MGST. CARLOS GONZALO FREIRE SORIA Cuenca, Ecuador 2015 UNIVERSIDAD DE CUENCA RESUMEN El presente trabajo investigativo está basado en la recuperación de las sonoridades de algunos de los instrumentos musicales de la Cultura Chorrera los mismos que además serán utilizados en el desarrollo de cuatro clases de apreciación musical para el cuarto año de Educación General Básica en un orden determinado a fin de lograr que el estudiante obtenga un amplio conocimiento de estos instrumentos así como de su función en la musicalidad de este pueblo. Se analizó inicialmente el panorama al cual ha estado expuesta la educación musical en nuestro entorno, mediante la revisión de textos escolares que se utilizan en algunas escuelas de nuestra ciudad y de los contenidos que poseen los mismos a fin de hacer pertinente el presente trabajo a nuestro medio de enseñanza y se convierta en un referente útil para el docente. También se rescataron aspectos importantes de los instrumentos que se utilizaron: modos de ejecución, clasificación, construcción, haciendo hincapié en las botellas silbato, pues las mismas se encuentran únicamente en reservas arqueológicas y en muy pocas ocasiones han logrado ser escuchadas o ejecutadas, se pretende con esta investigación recuperar su sonido y ofrecerlo a las nuevas generaciones con el propósito de revalorizarlas. Finalmente es de vital importancia señalar que las clases que se proponen en este trabajo son perfectamente aplicables a una aula de enseñanza ya que están diseñadas para la comprensión del maestro; sin embargo, el aporte significativo que le pueda dar a sus contenidos enriquecerá notablemente a las propuestas metodológicas de esta guía. -
The Prehistoric Archaeology of Venezuela, Colombia and Ecuador
The Cambridge Prehistory Ecuador, Colombia and Venezuela Roberto Lleras 1. The geographic setting Ecuador, Colombia and Venezuela together cover all of north-western South America; a region broadly comprising over two million, three hundred thousand square kilometres. The whole territory is located in the torrid tropical zone, most of it north of the Equator. The ample morphological and ecological diversity determines the existence of many different natural regions, being the main ones: 1) The Pacific coast, a dry, hilly stretch of lowland in south and central Ecuador and, further north, a mountainous humid tropical forest along Colombia up to the Panama isthmus. 2) The Andes, a complex region formed by several cordilleras cut by longitudinal and traverse river valleys that form climatic micro-niches. The Andes, roughly running in the south–north direction, divide in Colombia into three different cordilleras, one of which extends into Venezuela forming the Sierra de Merida. 3) The Caribbean coast; starting from the west, a dense tropical forest that gradually turns into savannah up to the foothills of the Sierra Nevada maritime massif, and then a long stretch of dry plains forming several peninsulas and encircling the Maracaibo lake. Further east into Venezuela there is the Central Cordillera that gradually dies to give way to the large delta of the Orinoco River. 4) The Llanos, a large system of lowland savannahs intersected by large rivers running into the Orinoco basin. 1 5) The Amazon and Guyana tropical forests, occupying eastern Ecuador, southeast Colombia and south Venezuela. Within each of these main regions there are several different zones; canyons, plateaux, deltas, marshlands, deserts and valleys, each with its specific type of vegetation and fauna. -
Escuela Superior Politécnica De Chimborazo Facultad De Informática Y Electrónica Escuela De Diseño Gráfico
ESCUELA SUPERIOR POLITÉCNICA DE CHIMBORAZO FACULTAD DE INFORMÁTICA Y ELECTRÓNICA ESCUELA DE DISEÑO GRÁFICO ANÁLISIS DE LOS ELEMENTOS ICONOGRÁFICOS DE LA CULTURA CHORRERA PARA EL DESARROLLO DE UNA FAMILIA TIPOGRÁFICA Trabajo de titulación presentado para optar al grado académico de: INGENIERA EN DISEÑO GRÁFICO AUTORAS: INCA QUITO VERÓNICA PAULINA MALDONADO GUAMANTAQUI GÉNESIS ALEJANDRA TUTOR: LIC. HÉCTOR AGUILAR Riobamba - Ecuador 2017 ESCUELA SUPERIOR POLITÉCNICA DE CHIMBORAZO FACULTAD DE INFORMÁTICA Y ELECTRÓNICA ESCUELA DE INGENIERIA EN DISEÑO GRÁFICO El Tribunal de Trabajo de Titulación certifica que: El Trabajo de Investigación: ANÁLISIS DE LOS ELEMENTOS ICONOGRÁFICOS DE LA CULTURA CHORRERA PARA EL DESARROLLO DE UNA FAMILIA TIPOGRÁFICA, de responsabilidad de los señoritas: Verónica Paulina Inca Quito y Génesis Alejandra Maldonado Guamantaqui, ha sido minuciosamente revisado por los Miembros del Tribunal de Trabajo de Titulación, quedando autorizada su presentación. Ing. Washington Luna DECANO DE LA FACULTAD DE INFORMÁTICA Y ELECTRÓNICA __________________ _______________ Lic. Ramiro Santos DIRECTOR ESCUELA DISEÑO GRÁFICO __________________ _______________ Lic. Héctor Aguilar DIRECTOR DEL TRABAJO DE TITULACIÓN __________________ _______________ Dis. María Alexandra López MIEMBRO DEL TRIBUNAL _________________ _______________ ii Nosotras, Verónica Paulina Inca Quito y Génesis Alejandra Maldonado Guamantaqui somos responsables de las ideas, doctrinas y resultados expuestos en esta Tesis y el patrimonio intelectual de la Tesis de Grado -
Read the Article As
M. Nicolás Caretta and Achim Lelgemann Cross Circles A case of Northern Mexico Ironically, this volume serves more to commemorate our ignorance of “Native American Astronomy” than it does to provide any substantive additions to our knowledge of it…”. (Anthony Aveni, Native American Astronomy, 1977: xvii). The archeology of northern Mexico has 2010) in Michoacán, Teotihuacán, Uaxactún revealed several peculiarities of the prehis- (Smith 1950), among others. However, the panic societies that occupied that region most famous pecked cross-circles in the are- for a long time. As compared to groups chaeoastronomical literature are the ones in Nuclear Mesoamerica, these are very in Teotihuacán, Uaxactún and Alta Vista, significant differences. It has been proven Zacatecas (Kelley and Kelley 2000). that the northern region was, by no means, In most of the cases they were carved an insurmountable desert, and that the into rock and only very few crosses were societies dwelling there were part of a very engraved on floors or buildings.2 Aveni and complex interaction system from very early Hartung (1985:6) have reported 14 crosses times in their Pre-Columbian History (Foster carved into floors; three of them in Uax- and Gorestein 2000). actún, Group A, and 11 in Teotihuacán (Ser- One of the identified characteristics of gio Gómez, personal communication, 2009). the region is its “rock art” (petroglyphs and The pecked cross-circles usually consist paintings), which was usually attributed of two concentric circles with a radiating (not exclusively though) to bands of hunter- cross dividing the circle into four quadrants. gatherers; their interaction with other However, there are pecked cross circles groups is clearly seen in the archeological formed by one, two or even three concen- evidence through the pecked cross circles1. -
Catalogo De La Exhibición El Ecuador Antiguo.Pdf
Esta obra está sujeta a licencia Creative Commons: Reconocimiento-NoComercial-SinObrasDerivadas, 3.0 Ecuador (https://creativecommons.org/licenses/by-nc-sa/3.0/ec/). Se permite la reproducción total o parcial y la comunicación pública de la obra, siempre que no sea con finalidades comerciales y siempre que se reconozca la autoría de la obra original. No se permite la creación de obras derivadas. 21o Ancient Ecuador El Ecuador Antiguo Culture, Clay and Creativity Cultura, Cerámica y Creatividad 3000-300 B.C. 3000-300 A.C. text by Donald W. Lathrap catalogue by Donald Collier and Helen Chandra Field Museum of Natural History Catalogue of an exhibit organized by Field Museum of Natural History April 18 - August 5, 1975. Participating institutions: Center for Inter-American Relations. New York. September 23 - November 18, 1975. William Rockhill Nelson Gallery and Atkins Museum of Fine Arts. Kansas City. January 15 - February 29, 1976. Krannert Art Museum. Urbana, September 5 - October 3, 1976. Minneapolis Institute of Arts, March 8 - May 8, 1977. Museo Arqueológico del Banco Central del Ecuador. Quito; Museo Arqueológico del Banco Central del Ecuador. Guayaquil, after July. 1977. All photographs from Field Museum with the exception of: Fig. 9. reed boat. Walter R Aguiar: Fig. 78. Tehuacán figurine. Robert S. Peabody Foundation. Andover. Mass.: Fig. 78. Curayacu figurine. Museo Nacional de Antropología \ Arqueología. Lima: Fig. 80. Chavín de lluantar rubbing. The American Mu seum of Natural History. New York: Fig. 82. stirrup-spout bottle. Museum of the American Indian. Hese Foundation. New York: Fig. 85. acrobat. The Mu seum of Primitive Art. -
Rather Than Agent 109 Representing a Cajamarca Ethnicity, Another
Report for posting on WWW website. Other than Agent 109 representing a Cajamarca ethnicity, another possible event is being proposed here. The event focuses on the probability that the ethnic identity of Agent 109 represents the Huancavilcas of Ecuador. Who were the Huancavilcas? At the time of conquest, the Huancavilcas occupied the Ecuadorian coastal area of Guayaquil Bay with the Isla de Puná and west through the Santa Elena Peninsula whereas the regions north are considered the Manteño heartland though with their possible dominance over the Huancavilcas (McEwan and Delgado-Espinoza 2008: 509-510; Stothert 2001: 251-271). Among the hundreds of post-colonial drawings by Felipe Guaman Poma de Ayala there are three depicting males who wear nose rings and earrings (Guaman Poma 1615/1616: 163, 246, 386), and have simple caps or a headband tied in front. One is shown as a cargadore with ropes around the shoulders (IBID: 246) and another designates tribes that the Inca Atahualpa subdued as represented by captain, Challco Chima (IBID: 183). Among the named tribes (Chachapoya, Cañari, Ciccho, Puruuay, Cico, Chupaycho) is “Guanca Bilca” or Huancavilca (Sarmiento [1999]:171). The third depicts Inca Atahualpa at the city of Cajamarca as he sits on his usnu or throne listening to Fray Vicente (IBID: 386). At the right is their legua or interpreter, Felipe, with a raised hand pointing upward. The accompanying text describes him as yndio Guanca Vilca or Huancavilca native and this image confirms the same ethnic traits in the other drawings. More precisely, Jacinto Jijón y Caamaño (1988 [1941]: 116) in reference to Garcilaso de la Vega wrote that Felipe - aka Felipillo - was Pizarro’s famous interpreter from the isle of Puná (Gheerbrant 1961: 379). -
Pdf Aztatlán : Apuntes Para La Historia Y Arqueología De Durango / Jaime
A la memoria de mi inolvidable padre el Sr. doctor José Ángel Pechar Delgado. A mi madre la Sra. Celia Fernández de Pechar. A mi esposa Emma Sáenz Hernández y a mis hijos: Alejandro, Emma y Alberto. A mis hermanos: José Ángel, Alfonso, Guillermo y Celia Pechar Fernández. A mi esposa Georgia Violento Fonseca y a mis hijas: Daniel, Gabriela y Georgia. A mi madre la Sra. M artina Rodríguez de Gano. A la memoria de mi padre el Sr. Roberto Gano Languilloume. A mi hermano Augusto Gano Rodríguez. Queremos expresar nuestra gratitud a las personas que han hecho posible el que este libro se haya convertido en una realidad. Al Sr. licenciado Maximiliano Silerio Esparza, Gobernador Constit ucional del Estado de Durango, al licenciado Alfredo Bracho Barbosa, secretario de Gobierno y amigo de toda la vida; al ingeniero Emiliano Hernández Camargo, secretario de Educación Cultura y Deporte del Estado, quien acogió la idea con entusiasmo por considerarlo un aporte valioso al proyecto de identidad duranguense y al historiador Javier Guerrero Romero, cuya paciencia fue puesta a prueba en la preparación del mismo. M uy especialmente damos las gracias a la licenciada Lidia Acevedo Zapata, quien con su excelente calidad de trabajo, cuidó los más mínimos detalles de la edición. Durante tantos años que hemos recorrido parte de nuestro Estado de Durango, hemos tenido la suerte de encontrarnos con mucha gente sabia de quienes hemos obtenido grandes experiencias; algunas de ellas con los más brillantes títulos universitarios, como el Dr. John Charles Kelley, su esposa Ellen Abbott, el Dr. Jaime Litvak King y el arqueoastrónomo Anthony Aveni; otros maestros, sin títulos académicos, pero con un profundo conocimiento de la vida, fueron algunos de nuestros guías como Rafael Betancour y su familia, Alfonso Barraza Cigarroa y Antonio Estrella, de quienes hemos aprendido la esencia del pueblo rural mexicano. -
ARTESANO-ARTISTA-Brochure-Cb0
1 2 3 4 Creating handcrafts is a sublime act combining knowledge and techniques that have remained throughout time. Our artisans’ creativity is as diverse as our cultural wealth. The historical background and hard work converge in the elaboration of these magnificent crafts, in which- undeniably - the artisans’ soul is embodied. Their skillful hands and patience transform raw materials that are mainly found in nature into crafts that are admired all over the world. Such is the beauty of these crafts that we do not know whether we are seeing a handcraft or if we are in front of a piece of art. 5 Therefore while we admire them, we feel breathless with weaving of ecuadorian toquilla straw hat, natural dyes woven in the fibers of the shawls (macanas), as well as the design of molten silver and golden threads. I invite you to rediscover a piece of our culture through this exhibition that takes us along every detail of the beauty of the crafts done with the sensitivity and love of our artisans. Rocío González de Moreno CREDITS Lenín Moreno Garcés Constitutional President of the Republic of Ecuador Rocío González de Moreno President of the Inter-institutional Committee of “Toda Una Vida” Plan Patricia Cepeda Vásconez Cultural Management Director Norka Denisse Guevara Sipión Fredy Revelo Vizcaíno María Gabriela Villacrés Martínez Research and curatorship team Alex Carrera Apolo Fredy Revelo Vizcaíno Juan Andrés Sotomayor Ruiz Museography team Carlos Agüero Marrero Pablo Espinosa Crespo Gabriela Lemus Hidalgo Gabriel Ortega García Mario Sánchez -
Cross Circles a Case of Northern Mexico
M. Nicolás Caretta and Achim Lelgemann Cross Circles A case of Northern Mexico Ironically, this volume serves more to commemorate our ignorance of “Native American Astronomy” than it does to provide any substantive additions to our knowledge of it…”. (Anthony Aveni, Native American Astronomy, 1977: xvii). The archeology of northern Mexico has re- Cárdenas 2010) in Michoacán, Teotihuacán, vealed several peculiarities of the prehispanic Uaxactún (Smith 1950), among others. How- societies that occupied that region for a long ever, the most famous pecked cross-circles in time. As compared to groups in Nuclear Mesoa- the arechaeoastronomical literature are the merica, these are very significant differences. ones in Teotihuacán, Uaxactún and Alta Vista, It has been proven that the northern region Zacatecas (Kelley and Kelley 2000). was, by no means, an insurmountable desert, In most of the cases they were carved into and that the societies dwelling there were rock and only very few crosses were engraved part of a very complex interaction system from on floors or buildings.2 Aveni and Hartung very early times in their Pre-Columbian History (1985:6) have reported 14 crosses carved into (Foster and Gorestein 2000). floors; three of them in Uaxactún, Group A, One of the identified characteristics of the and 11 in Teotihuacán (Sergio Gómez, personal region is its “rock art” (petroglyphs and paint- communication, 2009). ings), which was usually attributed (not exclu- The pecked cross-circles usually consist of sively though) to bands of hunter- gatherers; two concentric circles with a radiating cross their interaction with other groups is clearly dividing the circle into four quadrants.