Cultural Suggestions Africa

Total Page：16

File Type：pdf, Size：1020Kb

CULTURAL SUGGESTIONS AFRICA - Ekoi masks, fetish figures, Ashanti cloth dolls decorated with beads and cowrie shells, textile printing, Adinkra designs on paper, cloth, styrofoam printing, mask using natural materials, straw, seeds, beans, Guro animal masks, Ndbele beads (So. Africa), paper woven Tutsi baskets, story cloths, Kent cloth weavings (Ghana), Yoruba tie dye fabrics, tribal shields. ASIA - Chinese calligraphy or brush writing, scroll painting, Indian stamp seals and miniatures, Japanese papermaking, some ink painting, fish banners, fish prints, windsocks, fans, nature line drawings in linoleum printing, nature watercolor paintings (bamboo and flowers), Southeast Asian paper sculptures, paper kimonos, design Imperial ceremonial robes AUSTRALIA – Aboriginal paintings with symbols, lines, dots, bark paintings, boomerangs CENTRAL AMERICA - Panamanian paper or fabric moles, bark paintings EUROPE - English pen and ink crewel designs of flowers and fauna from 16th -18th century; embroidery on linen and cloth; hearts flowers linked by curving stems, tendrils and leaves; mosaic designs using paper, floral designs, mythological creatures, birds, animals, geometric designs. Illustration of Greek mythology on vases INDIA – henna hand painting, interpretations of the Ganesha, Hindu gods and goddesses, Taj Majal- monument to love MEXICO - Amate paper cutouts, simulated bark paintings, using brown craft paper, holy images, retablo, string paintings using Pre-Colombian motifs., “Day of the Dead” masks, Huiochel, Aztec sundial calendar PENNSYLVANIA DUTCH - fraktur, floral borders, hearts, tulips, doves, hex signs, in water color, collage or felt tip marker, patchwork quilts, folk art weather vanes ` MIDDLE EAST - Geometric designs, tessellations, floral, calligraphic designs of Persian etchings, ornate Arabic letters, scenes of bazaars, architecture, mosques/minarets, Israeli stain glass windows, Turkish Iznik plates, shadow puppets, mock Persian carpets NATIVE AMERICANS - Paper weavings similar to woven rugs, sand paintings of suns, eagles, feathers, snakes, lightning, corn, mock buffalo skins that illustrate the history, symbolism and exploits of war, dolls and masks, designs of eagles, bears, ravens, thunderbirds, executed in water color, tempera or felt tip, spirit masks, mandalas, shields, colored pencil graph paper designs taken from beadwork that depict deer, flowers, thunderbirds and geometric shapes. POLISH WYCINANKI - Cut folded paper for symmetrical design; subject matter may reflects trees, flowers, roosters, birds, stars, etc. PUERTO RICO - Vegigante masks, carved wooden Santos SOUTH AMERICA – Inca foiled tool masks UKRAINE - Pysanky decorative designs: sun, evergreens, hens, butterflies, wheat, fish, flower, deer and rams .

Copy Link

Recommended publications

Some Observations on the Nature of Papyrus Bonding
]. Ethnobiol. 11(2):193-202 Winter 1991 SOME OBSERVATIONS ON THE NATURE OF PAPYRUS BONDING PETER E. SCORA Moreno Valley, CA 92360 and RAINER W. SCORA Department of Botany and Plant Sciences University of California Riverside, CA 92521 ABSTRACT.-Papyrus (Cyperus papyrus, Cyperaceae) was a multi-use plant in ancient Egypt. Its main use, however, was for the production of laminated leaves which served as writing material in the Mediterranean world for almost 5000 years. Being a royal monopoly, the manufacturing process was kept secret. PI~us Secundus, who first described this process, is unclear as to the adhesive forces bonding the individual papyrus strips together. Various authors of the past century advanced their own interpretation on bonding. The present authors believe that the natural juices of the papyrus strip are sufficient to bond the individual strips into a sheet, and that any additional paste used was for the sole purpose of pasting the individual dried papyrus sheets into a scroll. RESUMEN.-EI papiro (Cyperus papyrus, Cyperaceae) fue una planta de uso multiple en el antiguo Egipto. Su uso principal era la produccion de hojas lami nadas que sirvieron como material de escritura en el mundo meditarraneo durante casi 5000 anos. Siendo un monopolio real, el proceso de manufactura se mantema en secreto. Plinius Secundus, quien describio este proceso por primera vez, no deja claro que fuerzas adhesivas mantenlan unidas las tiras individuales de papiro. Diversos autores del siglo pasado propusieron sus propias interpretaciones respecto a la adhesion. Consideramos que los jugos naturales de las tiras de papiro son suficientes para adherir las tiras individuales y formar una hoja, y que cual quier pegamento adicional se usa unicamente para unir las hojas secas individuales para formar un rollo.
[Show full text]
Leafing Through History
Leafing Through History Leafing Through History Several divisions of the Missouri Botanical Garden shared their expertise and collections for this exhibition: the William L. Brown Center, the Herbarium, the EarthWays Center, Horticulture and the William T. Kemper Center for Home Gardening, Education and Tower Grove House, and the Peter H. Raven Library. Grateful thanks to Nancy and Kenneth Kranzberg for their support of the exhibition and this publication. Special acknowledgments to lenders and collaborators James Lucas, Michael Powell, Megan Singleton, Mimi Phelan of Midland Paper, Packaging + Supplies, Dr. Shirley Graham, Greg Johnson of Johnson Paper, and the Campbell House Museum for their contributions to the exhibition. Many thanks to the artists who have shared their work with the exhibition. Especial thanks to Virginia Harold for the photography and Studiopowell for the design of this publication. This publication was printed by Advertisers Printing, one of only 50 U.S. printing companies to have earned SGP (Sustainability Green Partner) Certification, the industry standard for sustainability performance. Copyright © 2019 Missouri Botanical Garden 2 James Lucas Michael Powell Megan Singleton with Beth Johnson Shuki Kato Robert Lang Cekouat Léon Catherine Liu Isabella Myers Shoko Nakamura Nguyen Quyet Tien Jon Tucker Rob Snyder Curated by Nezka Pfeifer Museum Curator Stephen and Peter Sachs Museum Missouri Botanical Garden Inside Cover: Acapulco Gold rolling papers Hemp paper 1972 Collection of the William L. Brown Center [WLBC00199] Previous Page: Bactrian Camel James Lucas 2017 Courtesy of the artist Evans Gallery Installation view 4 Plants comprise 90% of what we use or make on a daily basis, and yet, we overlook them or take them for granted regularly.
[Show full text]
The Palmyrene Prosopography
THE PALMYRENE PROSOPOGRAPHY by Palmira Piersimoni University College London Thesis submitted for the Higher Degree of Doctor of Philosophy London 1995 C II. TRIBES, CLANS AND FAMILIES (i. t. II. TRIBES, CLANS AND FAMILIES The problem of the social structure at Palmyra has already been met by many authors who have focused their interest mainly to the study of the tribal organisation'. In dealing with this subject, it comes natural to attempt a distinction amongst the so-called tribes or family groups, for they are so well and widely attested. On the other hand, as shall be seen, it is not easy to define exactly what a tribe or a clan meant in terms of structure and size and which are the limits to take into account in trying to distinguish them. At the heart of Palmyrene social organisation we find not only individuals or families but tribes or groups of families, in any case groups linked by a common (true or presumed) ancestry. The Palmyrene language expresses the main gentilic grouping with phd2, for which the Greek corresponding word is ØuAi in the bilingual texts. The most common Palmyrene formula is: dynwpbd biiyx... 'who is from the tribe of', where sometimes the word phd is omitted. Usually, the term bny introduces the name of a tribe that either refers to a common ancestor or represents a guild as the Ben Komarê, lit. 'the Sons of the priest' and the Benê Zimrâ, 'the sons of the cantors' 3 , according to a well-established Semitic tradition of attaching the guilds' names to an ancestor, so that we have the corporations of pastoral nomads, musicians, smiths, etc.
[Show full text]
Half a Century Innovating Tradition the Frontiers of Amate Bark Paper Painters
Nicolás de Jesús, “Comierdalismo” (Shitty Commercialism), 75 x 60 cm, 1993 (line and color etching on amate paper). Half a Century Innovating Tradition The Frontiers of Amate Bark Paper Painters Martha García* 41 fter almost 50 years of creating the famous paintings on amate bark paper, Nahua artists have been given yet another well-deserved award for the tradition they have zealously pre- A served from the beginning: the 2007 National Prize for Science and the Arts in the cate- gory of folk arts and traditions. One of the most important characteristics of the continuity of their work has been the innovations they have introduced without abandoning their roots. This has allowed them to enter into the twenty-first century with themes alluding to the day-to-day life of society, like migration, touched on by the work of Tito Rutilo, Nicolás de Jesús, Marcial Camilo and Roberto Mauricio, shown on these pages. In general the Nahua painters of the Alto Balsas in Guerrero state have accustomed the assidu- ous consumer to their colorful “sheets” —as they call the pieces of amate paper— to classic scenes of religious festivities, customs and peasant life that are called “histories”. The other kind of sheet is the “birds and flowers” variety with stylized animals and plants or reproductions of Nahua myths. In part, the national prize given to the Nahua painters and shared by artists who work in lacquer and lead is one more encouragement added to other prizes awarded individually and collectively both in Mexico and abroad. As one of the great legacies of this ancient town, located in the Balsas region for more than a millennium, the communities’ paintings have become a window through which to talk to the world about their profound past and their stirring contemporary experiences.
[Show full text]
Palabras Ancladas. Fragmentos De Una Historia (Universal) Del Libro
Edgardo Civallero Palabras ancladas Palabras ancladas Fragmentos de una historia (universal) del libro Edgardo Civallero Versiones resumidas de los textos aquí incluidos fueron publicadas, como entradas de una columna bimestral titulada Palabras ancladas , en la revista Fuentes. Revista de la Biblioteca y Archivo Histórico de la Asamblea Legislativa Plurinacional de Bolivia entre septiembre de 2016 y diciembre de 2017. © Edgardo Civallero, 2018. Distribuido como pre-print bajo licencia Creative Commons by-nc-nd 4.0 "Bibliotecario". http://biblio-tecario.blogspot.com.es/ En el museo arqueológico con mi iPhone 5.2 fotografío una tablilla sumeria. Dentro de dos años y medio estará obsoleto. En veinticinco todos sus contenidos serán irrecuperables y su memoria se borrará. Miro la tablilla de barro con sus hermosos caracteres cuneiformes, dentro de otros tres mil quinientos años, seguirá, por encima de lo efímero y lo mortal, guardando la eternidad. Antonio Orihuela. "El aroma del barro". De La Guerra Tranquila (Cádiz: Origami, 2014). [01] Palabras ancladas, palabras cautivas La historia del libro —o, mejor dicho, la historia de los documentos escritos, tengan el formato que tengan— es un relato fragmentario y parcheado, cosido aquí, remendado allá, agujereado acullá. Los saltos y las lagunas son más abundantes que los hechos confirmados, y la secuencia cronológica de estos últimos tiene una fuerte tendencia a deshacerse, a perderse por senderos que no llevan a ningún sitio. Y aún así, a pesar de tratarse de un cuento bastante incierto, esa narrativa de cómo las palabras quedaron ancladas —amarradas para siempre a la arcilla, a la seda, al papiro, al pergamino o al papel— compone una parte importante de nuestra historia como sociedades y de nuestra identidad como seres humanos.
[Show full text]
Ficus (Fig Tree) Species of Guatemala Nicholas M
Economic Potential for Amate Trees Ficus (Fig Tree) Species of Guatemala Nicholas M. Hellmuth Introduction Entire monographs have been written on the bark paper of the Maya and Aztec codices (Van Hagen 1944). And there are plenty of scholarly botanical studies of Ficus trees of the family Moraceae. But on the Internet there is usually total confusion in popular web sites about the differences between strangler figs and normal fig trees. It is unclear to which degree the bark paper comes from a strangler fig tree, or also from anotherFicus species which is a normal tree (not dedicated to wrapping its roots around a host tree). But all this needs further research since 90% of the books and about 99% of the articles are on bark paper of Mexico. Indeed bark paper is still made in several parts of Mexico (to sell the tourists interested in Aztec, Maya and other cultures). Since we are in the middle of projects studying flavorings for cacao, Aztec and Maya ingredients for tobacco (more than just tobacco), colorants from local plants to dye native cotton clothing, and also trying to locate all the hundreds of medicinal plants of Guatemala, it would require funding to track down and study every species of Ficus. But since we are interested in all utilitarian plants of Mesoamerica, we wanted at least to prepare an introductory tabulation and a brief bibliography to assist people to understand that • strangler figs strangle other trees; these are very common in Guatemala • But there are many fig trees which are not stranglers • Figs for candy and cookies come from fig trees of other parts of the world • Not all bark paper comes just from amate (Ficus) trees For photographs we show in this first edition only the two fig trees which we have found in the last two months of field trips.
[Show full text]
Amate Bark Paintings Amate Is a Type of Pounded Bark Paper That Has Been Manufactured in Mexico, Since at Least 75 CE (Formerly AD)
04737 Fuller Road, East Jordan, MI 49727 (231) 536-3369 |www.miravenhill.org [email protected] Raven Hill Discovery Center is a 501(c)(3) tax-exempt corporation. Mission: Raven Hill provides a place that enhances hands-on and lifelong learning for all ages by connecting science, history & the arts. Amate Bark Paintings Amate is a type of pounded bark paper that has been manufactured in Mexico, since at least 75 CE (formerly AD). It is similar to the development of rice paper in China and papyrus in Egypt. The Otomi people began producing the paper commercially in the mid-1900’s and selling it in cities such as Mexico City, where the paper was revived by Nahua painters to create a "new" indigenous craft. Nahua paintings of the paper, which is also called "amate," are well-known. To make an Amate Bark Painting you will need a paper lunch sack or other light-weight brown paper bag, colored markers, black marker, paraffin wax (a candle will work) and an iron (use with supervision or have your adult do this step). Cut the bottom off the paper bag and slit it open, so you have a flat piece of brown paper. Divide into thirds. Wad a piece up into a ball. Open it up and wad it up again. Repeat this over and over. Eventually, the paper will become soft and pliable. Open it up and draw birds and flowers or other objects in bright colors. Once your drawing is done, outline everything with the black marker. Use paraffin or a candle to coat your entire drawing with wax.
[Show full text]
The Bark Paper Found in the Tomb at Huitzilapa Is Made from Ficus Tecolutensis.1 Also Known As Ficus Aurea
Bark Fiber Codex Paper The Hidden Codex is constructed on plant fiber that is covered with plaster for painting. The Hidden Codex fiber substrate base This type of writing surface is called Amate paper from the amate ficus that forms the base layer. It starts with processing raw fig fibers from the ficus tree family, the ficus aurea. Ficus aurea grows in Florida, the Caribbean and Mexico, and is also known as the strangler fig. The bark paper found in the tomb at Huitzilapa is made from Ficus tecolutensis.1 also known as Ficus aurea The woven mat is constructed by soaking the fibers, straightening them out, and then pounding them flat in a large crossing pattern. The fiber strands are strung or woven into mats and then applied with a white plaster limestone paste surface for painting. ficus aurea Amate tree growing in Guerrero 1 Benz, Bruce; Lorenza Lopez Mestas; Jorge Ramos de la Vega (2006). "Organic Offerings, Paper, and Fibers from the Huitzilapa Shaft Tomb, Jalisco, Mexico". Ancient Mesoamerica. 17 (2). pp. 283–296.. Other Codex Documents on Bark Fiber Paper: Four Maya codex documents use this construction method: The Dresden, The Grolier, The Madrid, and The Paris. Codex Dresden: The chalk-coated writing material, amatl , is a paper-like matter produced from fig-tree fiber by means of soaking and beating2 . The Grolier Codex is constructed of 13th-century amatl paper and contains thin red lines outlining the paintings.3 Fiber substrate is visible at the lower left of the image. The Madrid Codex was made from a long strip of amate paper that was folded up accordion-style.
[Show full text]
Maya Scribes Who Would Be Kings: Shamanism, the Underworld
MAYA SCRIBES WHO WOULD BE KINGS: SHAMANISM, THE UNDERWORLD, AND ARTISTIC PRODUCTION IN THE LATE CLASSIC PERIOD THESIS Presented to the Graduate Council of Texas State University-San Marcos in Partial Fulfillment of the Requirements for the Degree Master of ARTS by Barry B. Kidder, B.S. San Marcos, Texas December 2009 MAYA SCRIBES WHO WOULD BE KINGS: SHAMANISM, THE UNDERWORLD, AND ARTISTIC PRODUCTION IN THE LATE CLASSIC PERIOD Committee Members Approved: F. Kent Reilly III, Chair Christina Conlee James F. Garber Approved: ________________________________ J. Michael Willoughby Dean of Graduate College COPYRIGHT by Barry Bruno Kidder 2009 ACKNOWLEDGEMENTS Throughout the course of researching and writing this thesis there are many, almost innumerable people I would like to thank. These individuals have not only intellectually stimulated me but also acted as a constant driving force that made me push my limits. For that, I am forever grateful. I first want to thank all the faculty and staff of the Anthropology Department at Texas State University-San Marcos. Under their tutelage I have learned many skills in both theory and in practice that will undoubtedly prove invaluable in my career and more importantly, in my daily existence. Dr. Jim Garber served as a wonderful and wise teacher in the field and constantly expanded my knowledge of Maya cosmology, ritual, and architecture. I also must profusely thank my thesis advisor, mentor, and friend Dr. F. Kent Reilly, III. His boundless breadth of Native American religion, symbol systems, and archaeology provided for countless incites and discussions that ultimately led to the completion of this thesis.
[Show full text]
The Textile Museum Thesaurus
The Textile Museum Thesaurus Edited by Cecilia Gunzburger TM logo The Textile Museum Washington, DC This publication and the work represented herein were made possible by the Cotsen Family Foundation. Indexed by Lydia Fraser Designed by Chaves Design Printed by McArdle Printing Company, Inc. Cover image: Copyright © 2005 The Textile Museum All rights reserved. No part of this document may be reproduced, stored in a retrieval system, or transmitted in any form or by any means -- electronic, mechanical, photocopying, recording or otherwise -- without the express written permission of The Textile Museum. ISBN 0-87405-028-6 The Textile Museum 2320 S Street NW Washington DC 20008 www.textilemuseum.org Table of Contents Acknowledgements....................................................................................... v Introduction ..................................................................................................vii How to Use this Document.........................................................................xiii Hierarchy Overview ....................................................................................... 1 Object Hierarchy............................................................................................ 3 Material Hierarchy ....................................................................................... 47 Structure Hierarchy ..................................................................................... 55 Technique Hierarchy ..................................................................................
[Show full text]
Characterization of Riparian Tree Communities Along a River Basin in the Pacific Slope of Guatemala
Article Characterization of Riparian Tree Communities along a River Basin in the Pacific Slope of Guatemala Alejandra Alfaro Pinto 1,2,* , Juan J. Castillo Mont 2, David E. Mendieta Jiménez 2, Alex Guerra Noriega 3, Jorge Jiménez Barrios 4 and Andrea Clavijo McCormick 1,* 1 School of Agriculture & Environment, Massey University, Palmerston North 4474, New Zealand 2 Herbarium AGUAT ‘Professor José Ernesto Carrillo’, Agronomy Faculty, University of San Carlos of Guatemala, Guatemala City 1012, Guatemala; [email protected] (J.J.C.M.); [email protected] (D.E.M.J.) 3 Private Institute for Climate Change Research (ICC), Santa Lucía Cotzumalguapa, Escuintla 5002, Guatemala; [email protected] 4 School of Biology, University of San Carlos of Guatemala, Guatemala City 1012, Guatemala; [email protected] * Correspondence: [email protected] (A.A.P.); [email protected] (A.C.M.) Abstract: Ecosystem conservation in Mesoamerica, one of the world’s biodiversity hotspots, is a top priority because of the rapid loss of native vegetation due to anthropogenic activities. Riparian forests are often the only remaining preserved areas among expansive agricultural matrices. These forest remnants are essential to maintaining water quality, providing habitats for a variety of wildlife Citation: Alfaro Pinto, A.; Castillo and acting as biological corridors that enable the movement and dispersal of local species. The Mont, J.J.; Mendieta Jiménez, D.E.; Acomé river is located on the Pacific slope of Guatemala. This region is heavily impacted by intensive Guerra Noriega, A.; Jiménez Barrios, agriculture (mostly sugarcane plantations), fires and grazing. Most of this region’s original forest J.; Clavijo McCormick, A.
[Show full text]
Pre-Columbian Codices and Paper Making Carl Kauffman Introduction to Preservation LIS 713-Spring 2013
Pre-Columbian Codices and Paper Making Carl Kauffman Introduction to Preservation LIS 713-Spring 2013 The Madrid Codex “Then he (Landa) collected the books and the ancient writing and he commanded them burned and tied up. They burned many historical books of the ancient Yucatan which told of its beginning and history, which would be of much value if they had been translated in our own writing, because today there would be something original. At best there is no great authority for more than the traditions of these Indians” -Bernardo de Lizana 1633 (Coe & Kerr 1997, 222) On July 12, 1562 occurred the infamous Auto de Fe in the town of Mani in the Yucatan of Mexico and with it the destruction of much of Mayan culture. This act of ritual destruction in the name of the Inquisition included the burning of numerous codices because as its’ instigator Bishop Diego de Landa stated “We found in these books a large number of characters and as they contained nothing in which were not to be seen superstition and lies of the devil, we burned them all, which they (the Maya) regretted to an amazing degree, and which caused them much affliction.” This single act deprived the future of an untold wealth of knowledge concerning this great native American civilization as books and other artifacts were consigned to the flames, nor was this the only time that the conquering Spaniards condemned the creations of the Maya to oblivion. This systematic destruction of the books the Christian Spaniards found representative of an evil and alien culture was nearly successful.
[Show full text]