An Andean Colonial Woman's Mantle
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An Essay Exploring Inca Textile Designs and Their Use in the Development of an Inca Brand Identity
Branding an Empire An essay exploring Inca textile designs and their use in the development of an Inca brand identity. Heather Tucker May 11, 2017 University of Notre Dame Inca and Colonial Peru Michael Schreffler Graduate Research Paper Content Introduction Defining the Inca Empire Brand Values Identifying the Inca Empire Brand Identity Inca Textile Design & Production: Materials Inca Textile Design & Production: Iconography Inca Textile Design & Production: Standardization Conclusion Fig. 1 Inca tunic, Peru, 1400–1532, camelid fiber weft, 91 x 76 cm. Dumbarton Oaks, Washington, Pre- Columbian Collection Introduction Most abstract logos—when seen without Fig. 2 (left page) Abrstract logos from left to right and context or associations—have very little top to bottom. Boomerang from Instagram, Microsoft meaning to a viewer. However, when a Windows, Mitsubishi, Mercedes-Benz, Chase company or organization builds a set of Bank, Marlboro experiences, messages, and interactions associated with their brand, the logo begins to trigger a feeling, story, or connection to broader ideas. In the same way, the Inca empire used symbols and a set of visual standards to create a “brand identity” for the empire. This is most apparent in their design, creation, and use of textiles. In this essay, I explore how Inca textile design and production used techniques such as— attention to materials, iconography, and standardization—to create and strictly reinforce the Inca empire brand identity. Defining the Inca Empire Brand Values According to legendary designer, Massimo Fig. 3 (left page) Martin de Murua. Coya Mamabuaco, Vignelli, “The objective of identity design from Historia general del Peru (cat. no. -
English Translation of the German by Tom Hammond
Richard Strauss Susan Bullock Sally Burgess John Graham-Hall John Wegner Philharmonia Orchestra Sir Charles Mackerras CHAN 3157(2) (1864 –1949) © Lebrecht Music & Arts Library Photo Music © Lebrecht Richard Strauss Salome Opera in one act Libretto by the composer after Hedwig Lachmann’s German translation of Oscar Wilde’s play of the same name, English translation of the German by Tom Hammond Richard Strauss 3 Herod Antipas, Tetrarch of Judea John Graham-Hall tenor COMPACT DISC ONE Time Page Herodias, his wife Sally Burgess mezzo-soprano Salome, Herod’s stepdaughter Susan Bullock soprano Scene One Jokanaan (John the Baptist) John Wegner baritone 1 ‘How fair the royal Princess Salome looks tonight’ 2:43 [p. 94] Narraboth, Captain of the Guard Andrew Rees tenor Narraboth, Page, First Soldier, Second Soldier Herodias’s page Rebecca de Pont Davies mezzo-soprano 2 ‘After me shall come another’ 2:41 [p. 95] Jokanaan, Second Soldier, First Soldier, Cappadocian, Narraboth, Page First Jew Anton Rich tenor Second Jew Wynne Evans tenor Scene Two Third Jew Colin Judson tenor 3 ‘I will not stay there. I cannot stay there’ 2:09 [p. 96] Fourth Jew Alasdair Elliott tenor Salome, Page, Jokanaan Fifth Jew Jeremy White bass 4 ‘Who spoke then, who was that calling out?’ 3:51 [p. 96] First Nazarene Michael Druiett bass Salome, Second Soldier, Narraboth, Slave, First Soldier, Jokanaan, Page Second Nazarene Robert Parry tenor 5 ‘You will do this for me, Narraboth’ 3:21 [p. 98] First Soldier Graeme Broadbent bass Salome, Narraboth Second Soldier Alan Ewing bass Cappadocian Roger Begley bass Scene Three Slave Gerald Strainer tenor 6 ‘Where is he, he, whose sins are now without number?’ 5:07 [p. -
Galápagos: + Peru's Land of the Inca
voyaging to galápagos voyaging to galápagos Galápagos: + Peru’s Land of the Inca > ITINERARY – 16 DAYS/15 NIGHTS, Departing EVery Friday ABOARD POLARIS Thematically, one might ask why Day 1 through Day 8: The afternoon is free to explore the Val- connect a visit to Peru with an expe- As per the Galápagos itinerary. ley on your own. (B,L,D) dition to Galápagos? We have two answers: as magnificent as Galápagos Day 9: Galápagos/Guayaquil/ Day 11: Sacred Valley of the Inca is for nature, so is Peru from an histori- Lima, Peru Visit the town and important archaeo- cal and archaeological perspective; and Disembark Polaris this morning and fly logical site of Pisac. Gateway to the second, Lima — Peru’s capital is less to Lima, Peru via Guayaquil, arriving in Sacred Valley, Pisac has an “old town” than two hours away by air from Guaya- the early evening. Spend the night at (one of the most beautiful Inca complex- quil, roughly the distance from New the gracious Orient Express Miraflores es) and a “new town” from the Colonial York City to Chicago. So, if you have Park Hotel. Tomorrow you’ll be getting era. There will be a late lunch at the the time, you’re almost there anyway. up early, so you are on your own for Hacienda Orihuela. Here the Orihuela A couple of key issues to point out. dinner. (B,L) family continues a 350-year-old tradition We spend a week in Peru. Occasion- of farming. In addition, they have gath- ally people ask, “why so long when the Day 10: Lima/Cusco/Sacred Valley ered a valuable collection of Colonial art highlight is Machu Picchu?” The fact of the Inca housed in their country mansion. -
Diadem Gold Mining Co
aiyiM iwaftwfiFBywiwftBiaww1' 1,,iw Mf MJff Wednesday, May i, 1901 THE SUMPTER MINER Diadem Gold Mining Co. : OFFICERS Mines Situated on Green- This Mine is Working j President J. H. ROBBINS J Every Day j Mayor of Sumpttr a. N.C.RICHARDS horn Mountain Attorney (Uw J This Mine is a Shiping Sec'y and Treas...OTTO HERLOCKER Baker County Mine i4 At. Cathltr First Bank ol Sumpttr f Directors J. H. Robblns, N. C. J The Baker Cl!y SamplInK Works Richards, E. M. Anderson, M. D. gives the following returns (or two Supt. of Mines... DAVID O'NEIL small shipments: Lot 68-1- . 253 sacks X Of Iter P, O.. Baker County, Oregon 1,000,000 SHARES of ore, dry weight, 13,06) pounds. In addition to the officer of the company Z Gold, 7 ounces; silver, 940 ounces. J among the atockholderi are: Hon. Lee Mantle, T : PAR VALUE $1 00 EACH Gold per oz, $20; treatment cost 98. late IT. S. Senator, Hutte, Montana: Tho. R. Net price per Freight, Hindi, County Treasurer, Butte, Montana; I ton, 130.50. late of Hon. John F. Forbes, Attorney-at-La- Butte; Zi a 97 per ton. Net value lost, 9800,24. Chas. S. Warren, Speculator, Butte; los. F. Par-- T Lot No. 102. 378 sack ore; dry dee, Miner, Phllllpsburg, Montana; H. M. Grant, weight, 18,810. Gold, 6.20 ounces; Insurance Adfuster, Portland; Geo. W, McDow- - ell, Broker Portland; CB. Richardson, Contrac- - Home Office silver, q ounces; gold $20 per ounce. tor, Walla. Walla, Wash.; Hector McRea. -
Dress and Cultural Difference in Early Modern Europe European History Yearbook Jahrbuch Für Europäische Geschichte
Dress and Cultural Difference in Early Modern Europe European History Yearbook Jahrbuch für Europäische Geschichte Edited by Johannes Paulmann in cooperation with Markus Friedrich and Nick Stargardt Volume 20 Dress and Cultural Difference in Early Modern Europe Edited by Cornelia Aust, Denise Klein, and Thomas Weller Edited at Leibniz-Institut für Europäische Geschichte by Johannes Paulmann in cooperation with Markus Friedrich and Nick Stargardt Founding Editor: Heinz Duchhardt ISBN 978-3-11-063204-0 e-ISBN (PDF) 978-3-11-063594-2 e-ISBN (EPUB) 978-3-11-063238-5 ISSN 1616-6485 This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 04. International License. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/. Library of Congress Control Number:2019944682 Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. © 2019 Walter de Gruyter GmbH, Berlin/Boston The book is published in open access at www.degruyter.com. Typesetting: Integra Software Services Pvt. Ltd. Printing and Binding: CPI books GmbH, Leck Cover image: Eustaţie Altini: Portrait of a woman, 1813–1815 © National Museum of Art, Bucharest www.degruyter.com Contents Cornelia Aust, Denise Klein, and Thomas Weller Introduction 1 Gabriel Guarino “The Antipathy between French and Spaniards”: Dress, Gender, and Identity in the Court Society of Early Modern -
How to Build a Model Illustrating Sea-Floor Spreading and Subduction
U.S. DEPARTMENT OF THE INTERIOR U.S. GEOLOGICAL SURVEY How to Build a Model Illustrating Sea-Floor Spreading and Subduction by John C. Lahr Open-File Report 99-132, Paper Edition This report is preliminary and has not been reviewed for conformity with U.S. Geological Survey editorial standards. Any use of trade, product, or firm names is for descriptive purposes only and does not imply endorsement by the U.S. Government. Denver Federal Center Box 25946, Mail Stop 966 Denver, CO 80225 Phone: (303) 273-8596 Email: [email protected] -2- In trod uct ion This report describes how to build a model of the outer 300 km (180 miles) of the Earth that can be used to develop a better understanding of the principal features of plate tectonics, including sea-floor spreading, the pattern of magnetic stripes frozen into the sea floor, transform faulting, thrust faulting, subduction, and volcanism. In addition to a paper copy of this report, the materials required are a cardboard shoebox, glue, scissors, straight edge, and safety razor blade. Structure of the Earth The Earth consists of an iron-rich core with a radius of 3,500 km (2,100 miles), surrounded by a 2,800-km- (1,680-mile-) thick mantle of mostly silicon, magnesium, and oxygen, and finally an 80-km- (50-mile-) thick lithosphere. While 96% of the volume of the core is liquid, there is a solid inner core with a radius of 1,200 km (720 miles). Electric currents within the metallic- liquid outer core create the Earth's magnetic field. -
Visual Epistemologies of Resistance: Imaging Virgins and Saints in Contemporary Cusco
Revista de Estudios Globales y Arte Contemporáneo| Vol. 7 | Núm. 1| 2020 | 237-266 Omar Rivera, Patrick Hajovsky Southwestern University, VISUAL EPISTEMOLOGIES OF Texas, US RESISTANCE: IMAGING VIRGINS AND SAINTS IN CONTEMPORARY CUSCO The project of indigenous modernity can emerge from the present in a spiral whose movement is a continuous feedback from the past to the future—a “principle of hope” or “anticipatory cons- ciousness”—that both discerns and realizes decolonization at the same time. -Silvia Rivera Cusicanqui (citing Ernst Bloch)1 In Andean aesthetics, visuality is a site of epistemic tension and a continual reverberation of colonialism. Through art that aligns with pre- 1 Ch’ixinakax utxiwa: A Reflection on the Practices and Discourses of Decolonization, The South Atlantic Quarterly 111:1 (Winter 2012): 95-109, 96. Revista de Estudios Globales y Arte Contemporáneo ISSN: 2013-8652 online http://revistes.ub.edu/index.php/REGAC/index http://creativecommons.org/licenses/by/3.0/es/ colonial indigenous epistemologies, contemporary Andean artists resist colonial and post-colonial cultural domination. In particular, they resist viewers’ designation of “syncretic” or “hybrid” to produce knowledge about art that has been fashioned by indigenous hands. Epistemological claims of “syncretism” and “hybridity” may be intended to transcend the borders between “us” and “them,” between West and non-West, or between eras in Latin America that depend on the presence or absence of Spanish colonists, but such iterations can reinvest viewers in a history of misrecognition. Nevertheless, such terms are not sedimented, for indigenous artists continue to reclaim visuality as they steadfastly hold a mirror toward artistic and epistemic paradigms that attempt to translate, erase, or manage localized colonial differences. -
A Paratextual Analysis of Nurturing Opera Audiences: Transmedia Practices, Interactivity and Historical Interpretation in the We
. Volume 16, Issue 1 May 2019 A paratextual analysis of Nurturing Opera Audiences: Transmedia practices, interactivity and historical interpretation in the Welsh National Opera’s promotion of the ‘Tudors Trilogy’1 Rachel Grainger and Márta Minier, University of South Wales, UK Abstract: This article examines contemporary opera marketing strategies in the context of paratextuality and transmedia storytelling using the case study of the Welsh National Opera’s (WNO) 2013 ‘Tudor trilogy’ (Anna Bolena, Maria Stuarda, Roberto Devereux by Gaetano Donizetti). The WNO’s marketing, and education & outreach campaigns for their Tudor opera performances build on the contemporary manifold ‘presence of the past in British society’ (Wright 2009: ix) and the widespread use of technologically aided branding in the arts world. We will argue that the WNO’s creative and heritagising recourse to the Tudor period as ‘usable past’ (Jordanova 2006, Smith 1997: 37) and ‘playable past’ (Kapell and Elliott 2013: 362) not only determines the main branding context for the performed opera trilogy as a cultural product but that there is also a lucrative case of one brand supporting another: the Tudor brand as a phenomenon of contemporary retro-culture bolstering the WNO brand as a not exclusively upper class but accessible and chic brand. WNO’s Tudors performance cluster is a project where significant agencies and configurations of the contemporary heritage industry converge: high opera meets Tudormania, digital marketing company Yello brick and the National Trust as -
The Metropolitan Museum of Art's Our Lady of Cocharcas
City University of New York (CUNY) CUNY Academic Works School of Arts & Sciences Theses Hunter College Spring 5-1-2020 Performance, Ritual, and Procession: The Metropolitan Museum of Art’s Our Lady of Cocharcas Evelin M. Chabot CUNY Hunter College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/hc_sas_etds/576 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] Performance, Ritual, and Procession: The Metropolitan Museum of Art’s Our Lady of Cocharcas by Evelin Chabot Griffin Submitted in partial fulfillment of the requirements for the degree of Master of Arts in the History of Art, Hunter College The City University of New York 2020 4/27/2020 Professor Tara Zanardi Date Thesis Sponsor 4/26/2020 Professor Maria Loh Date Second Reader Contents Acknowledgements…………………………………………………………………………..……ii List of Images…………………………………………………………………….………...…iii, iv Introduction…………………………………………………………………………………..……1 Chapter One: Power, Proselytism, and Purpose……………………………………………..……8 Chapter Two: The Metropolitan Museum of Art’s Our Lady of Cocharcas…………………….34 Conclusion……………………………………………………………………………………….51 Bibliography……………………………………………………………………………………..54 Images……………………………………………………………………………………………57 i Acknowledgements Professor Tara Zanardi has my deepest gratitude for her patience and wisdom, which helped guide this thesis from its very early stages to where it is now. I am also grateful to Professor Maria Loh for her thorough review of the thesis in its final form and incredibly helpful and incisive input. I want to thank Ronda Kasl, Curator of Latin American Art at The Metropolitan Museum of Art, for inspiring me to work on these enchanting statue paintings and for her insight and guidance that spring-boarded my research at the beginning of this process. -
From the Garden of Eden to the New Creation in Christ : a Theological Investigation Into the Significance and Function of the Ol
The University of Notre Dame Australia ResearchOnline@ND Theses 2017 From the Garden of Eden to the new creation in Christ : A theological investigation into the significance and function of the Old estamentT imagery of Eden within the New Testament James Cregan The University of Notre Dame Australia Follow this and additional works at: https://researchonline.nd.edu.au/theses Part of the Religion Commons COMMONWEALTH OF AUSTRALIA Copyright Regulations 1969 WARNING The material in this communication may be subject to copyright under the Act. Any further copying or communication of this material by you may be the subject of copyright protection under the Act. Do not remove this notice. Publication Details Cregan, J. (2017). From the Garden of Eden to the new creation in Christ : A theological investigation into the significance and function of the Old Testament imagery of Eden within the New Testament (Doctor of Philosophy (College of Philosophy and Theology)). University of Notre Dame Australia. https://researchonline.nd.edu.au/theses/181 This dissertation/thesis is brought to you by ResearchOnline@ND. It has been accepted for inclusion in Theses by an authorized administrator of ResearchOnline@ND. For more information, please contact [email protected]. FROM THE GARDEN OF EDEN TO THE NEW CREATION IN CHRIST: A THEOLOGICAL INVESTIGATION INTO THE SIGNIFICANCE AND FUNCTION OF OLD TESTAMENT IMAGERY OF EDEN WITHIN THE NEW TESTAMENT. James M. Cregan A thesis submitted for the degree of Doctor of Philosophy at the University of Notre Dame, Australia. School of Philosophy and Theology, Fremantle. November 2017 “It is thus that the bridge of eternity does its spanning for us: from the starry heaven of the promise which arches over that moment of revelation whence sprang the river of our eternal life, into the limitless sands of the promise washed by the sea into which that river empties, the sea out of which will rise the Star of Redemption when once the earth froths over, like its flood tides, with the knowledge of the Lord. -
Feature Selection for Cotton Foreign Fiber Objects Based on PSO Algorithm
Feature Selection for Cotton Foreign Fiber Objects Based on PSO Algorithm Hengbin Li1, Jinxing Wang1, Wenzhu Yang2, Shuangxi Liu1, Zhenbo Li2, and Daoliang Li2,* 1 Mechanical and Electronic Engineering College, Shandong Agricultural University, Taian 271018, China 2 College of Information and Electrical Engineering, China Agricultural University, Beijing 100083, China {ytu-lhb,jingxingw,wzyservers,shuangxl, zhboli,daoliangli}@163.com Abstract. Due to large amount of calculation and slow speed of the feature selection for cotton fiber, a fast feature selection algorithm based on PSO was developed. It is searched by particle swarm optimization algorithm. Though search features by using PSO, it is reduced the number of classifier training and reduced the computational complexity. Experimental results indicate that, in the case of no loss of the classification performances, the method accelerates feature selection. Keywords: Cotton, Foreign fiber, Feature selection, Particle swarm optimization. Introduction The foreign fibers in cotton is non-cotton fiber and non-nature color cotton fiber, such as chemical fiber, hair, hemp rope and so on, which are missing with the cotton and have serious influence on the quality of cotton and its product. Foreign fiber has serious impact on textile products even the quantity is very small. Once the fiber is mixed into cotton fiber, it will not only affect the textile spinning capacity, but also form color spots in dyed fabric which may seriously affect the appearance of the fabric and make a great damage to the cotton textile industry. In China, a number of cotton processing enterprises mainly rely on large numbers of workers employed to pick the foreign fiber. -
A Study on the Design and Composition of Victorian Women's Mantle
Journal of Fashion Business Vol. 14, No. 6, pp.188~203(2010) A Study on the Design and Composition of Victorian Women’s Mantle * Lee Sangrye ‧ Kim Hyejeong Professor, Dept. of Fashion Design, TongMyong University * Associate Professor, Dept. of Clothing Industry, Hankyong National University Abstract This study purposed to identify the design and composition characteristics of mantle through a historical review of its change and development focusing on women’s dress. This analysis was particularly focused on the Victorian age because the variety of mantle designs introduced and popularized was wider than ever since ancient times to the present. For this study, we collected historical literature on mantle from ancient times to the 19 th century and made comparative analysis of design and composition, and for the Victorian age we investigated also actual items from the period. During the early Victorian age when the crinoline style was popular, mantle was of A‐ line silhouette spreading downward from the shoulders and of around knee length. In the mid Victorian age from 1870 to 1889 when the bustle style was popular, the style of mantle was changed to be three‐ dimensional, exaggerating the rear side of the bustle skirt. In addition, with increase in women’s suburban activities, walking costume became popular and mantle reached its climax. With the diversification of design and composition in this period, the name of mantle became more specific and as a result, mantle, mantelet, dolman, paletot, etc. were used. The styles popular were: it looked like half-jacket and half-cape. Ornaments such as tassels, fur, braids, rosettes, tufts and fringe were attached to create luxurious effects.