Pub Date : 1900-01-01DOI: 10.32873/unl.dc.zea.1409
Danielle Dupiech Cavaleri, Leydi Dorantes
Las viejas bordadoras de la península de Yucatán, depositarias de la memoria del contenido cultural inscrito en los textiles, desaparecen una a una sin haber trasmitido su conocimiento a las jóvenes generaciones. Ante la alteración de parte sustancial de la cultura vinculada a los textiles, durante cinco años se llevó a cabo una investigación dirigida a salvaguardar este patrimonio en vías de ser olvidado para siempre, la cual demostró el rol de los textiles en los rituales y la relación entre algunos motivos bordados con la cosmogonía maya. Este trabajo científico despertó la inquietud de grupos de jóvenes bordadoras ávidas de reapropiarse del significado simbólico de los motivos. Otras iniciativas prueban el interés de las jóvenes generaciones mayas en el proyecto de rescate iniciado en septiembre de 2022, en colaboración con la joven meno’ob Leydi Dorantes, cuyo objetivo es abrir nuevas vías de investigación asociadas al conocimiento del contenido cultural de los bordados de plantas medicinales.
{"title":"El despertar de las nuevas generaciones de bordadoras mayas de la península de Yucatán","authors":"Danielle Dupiech Cavaleri, Leydi Dorantes","doi":"10.32873/unl.dc.zea.1409","DOIUrl":"https://doi.org/10.32873/unl.dc.zea.1409","url":null,"abstract":"Las viejas bordadoras de la península de Yucatán, depositarias de la memoria del contenido cultural inscrito en los textiles, desaparecen una a una sin haber trasmitido su conocimiento a las jóvenes generaciones. Ante la alteración de parte sustancial de la cultura vinculada a los textiles, durante cinco años se llevó a cabo una investigación dirigida a salvaguardar este patrimonio en vías de ser olvidado para siempre, la cual demostró el rol de los textiles en los rituales y la relación entre algunos motivos bordados con la cosmogonía maya. Este trabajo científico despertó la inquietud de grupos de jóvenes bordadoras ávidas de reapropiarse del significado simbólico de los motivos. Otras iniciativas prueban el interés de las jóvenes generaciones mayas en el proyecto de rescate iniciado en septiembre de 2022, en colaboración con la joven meno’ob Leydi Dorantes, cuyo objetivo es abrir nuevas vías de investigación asociadas al conocimiento del contenido cultural de los bordados de plantas medicinales.","PeriodicalId":213927,"journal":{"name":"Zea Books","volume":"103 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116676912","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.32873/unl.dc.zea.1210
B. Carbonell
In the Llullaillaco contexts, the tocapu and cumbi designs are repeated in significant textiles worn by the sacrificed children and on the miniatures worn by the figurines that make up the offerings. Both the anthropomorphic metal miniatures (in gold and silver) and those of mullu (spondylus) are dressed with an uncu (tunic), yacolla (cloak) and llautu (headband). They carry a bag or chuspa with the same patterns as the clothes the children are wearing. Our understating of the meaning of tocapu is based on the descriptions of chroniclers. These descriptions are sometimes intimately linked to the idea of textiles, and at other times to the narrative of the designs, although we do not know yet a system that allows us to decipher its real meaning. Tocapu has been used radically differently in political, cultural and religious fields. They are defined by having a repetitive pattern sometimes, though not repetitive at other times, with abstract shapes composed of geometric figures and organized lines that represent a meaning. Tocapu is transhistorical, we can find it today in different regions linked to architecture, ritual symbols, to the Inca, and in later centuries influencing richly ornamental clothes and cloaks (for example, in the colonial period).
{"title":"Los tocapus de Llullaillaco","authors":"B. Carbonell","doi":"10.32873/unl.dc.zea.1210","DOIUrl":"https://doi.org/10.32873/unl.dc.zea.1210","url":null,"abstract":"In the Llullaillaco contexts, the tocapu and cumbi designs are repeated in significant textiles worn by the sacrificed children and on the miniatures worn by the figurines that make up the offerings. Both the anthropomorphic metal miniatures (in gold and silver) and those of mullu (spondylus) are dressed with an uncu (tunic), yacolla (cloak) and llautu (headband). They carry a bag or chuspa with the same patterns as the clothes the children are wearing. Our understating of the meaning of tocapu is based on the descriptions of chroniclers. These descriptions are sometimes intimately linked to the idea of textiles, and at other times to the narrative of the designs, although we do not know yet a system that allows us to decipher its real meaning. Tocapu has been used radically differently in political, cultural and religious fields. They are defined by having a repetitive pattern sometimes, though not repetitive at other times, with abstract shapes composed of geometric figures and organized lines that represent a meaning. Tocapu is transhistorical, we can find it today in different regions linked to architecture, ritual symbols, to the Inca, and in later centuries influencing richly ornamental clothes and cloaks (for example, in the colonial period).","PeriodicalId":213927,"journal":{"name":"Zea Books","volume":"66 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124852105","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.32873/unl.dc.zea.1419
J. Montoya
En el artículo «Contextualizando una colección maya olvidada proveniente de Chich’en, Cobán, Alta Verapaz, Guatemala», publicado en las Actas del Congreso Internacional sobre Iconografía Precolombina, Barcelona 2019, se presenta una colección de objetos arqueológicos mayas adquirida por la Universidad de Gante en 1895. Se describen brevemente los antecedentes de la colección, el sitio arqueológico de proveniencia y su contexto geográfico, histórico y religioso. Incluye además una selección de objetos y un breve análisis de los elementos iconográficos de la cerámica. El estudio de la colección concluyó un año después y el reporte completo se publicó en diciembre 2020. A partir de entonces, un reciente descubrimiento arqueológico en Cobán y otros estudios realizados en el área de Alta Verapaz y las tierras bajas aledañas, así como las consultas con especialistas que han observado la colección, han aportado ideas e interpretaciones adicionales sobre el material y la relevancia de Chich’en en esta región cuya historia es poco conocida. En el presente artículo analizamos algunos aspectos de la colección partiendo de los estudios y contribuciones de otros autores, con el propósito de encontrar respuestas a las múltiples preguntas sobre los objetos, el contexto en que se encontraron, su significado y función. Las fotografías de las piezas mencionadas en este artículo pueden verse en el reporte completo (Montoya 2020b).
《2019年巴塞罗那前哥伦比亚肖像学国际大会论文集》发表了一篇题为“背景化来自Chich 'en的被遗忘的玛雅收藏，coban, Alta Verapaz，危地马拉”的文章，介绍了根特大学在1895年获得的玛雅考古文物收藏。本文简要介绍了藏品的背景、起源的考古遗址及其地理、历史和宗教背景。它还包括物品的选择和对陶瓷肖像元素的简要分析。一年后，对该收藏的研究结束，完整报告于2020年12月发表。供一份新的考古发现,在科和其他研究Alta Verapaz的区域及邻近的低地,以及专家咨询发现,收藏提供了思想和解释和相关材料有关的附加Chich 'en在这个地区历史上是不太为人所知的。在本文中，我们从其他作者的研究和贡献出发，分析了该文集的一些方面，以找到关于这些物品、它们被发现的背景、它们的意义和功能的多个问题的答案。本文中提到的作品的照片可以在完整的报告(蒙托亚2020b)中看到。
{"title":"La relevancia de Chich’en dentro del contexto regional de Cobán, Alta Verapaz","authors":"J. Montoya","doi":"10.32873/unl.dc.zea.1419","DOIUrl":"https://doi.org/10.32873/unl.dc.zea.1419","url":null,"abstract":"En el artículo «Contextualizando una colección maya olvidada proveniente de Chich’en, Cobán, Alta Verapaz, Guatemala», publicado en las Actas del Congreso Internacional sobre Iconografía Precolombina, Barcelona 2019, se presenta una colección de objetos arqueológicos mayas adquirida por la Universidad de Gante en 1895. Se describen brevemente los antecedentes de la colección, el sitio arqueológico de proveniencia y su contexto geográfico, histórico y religioso. Incluye además una selección de objetos y un breve análisis de los elementos iconográficos de la cerámica. El estudio de la colección concluyó un año después y el reporte completo se publicó en diciembre 2020. A partir de entonces, un reciente descubrimiento arqueológico en Cobán y otros estudios realizados en el área de Alta Verapaz y las tierras bajas aledañas, así como las consultas con especialistas que han observado la colección, han aportado ideas e interpretaciones adicionales sobre el material y la relevancia de Chich’en en esta región cuya historia es poco conocida. En el presente artículo analizamos algunos aspectos de la colección partiendo de los estudios y contribuciones de otros autores, con el propósito de encontrar respuestas a las múltiples preguntas sobre los objetos, el contexto en que se encontraron, su significado y función. Las fotografías de las piezas mencionadas en este artículo pueden verse en el reporte completo (Montoya 2020b).","PeriodicalId":213927,"journal":{"name":"Zea Books","volume":"50 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124410353","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.32873/unl.dc.zea.1421
Manuel Alberto Morales Damián
Se reflexiona sobre el papel social de la mujer durante el postclásico en la península de Yucatán; se utiliza como testimonio el Códice Madrid a partir de la información que ofrecen las figuras femeninas que aparecen representadas en 27 almanaques y en el cosmograma de las páginas 75-76. El porcentaje de figuras femeninas (10,15%), así como las funciones que desempeñan en las distintas escenas, indican que la mujer tiene un papel secundario, incluso pueden ser sustituidas por varones. Se muestran evidencias de un patriarcado de baja intensidad. This paper analyses the social role of women at Postclassic Yucatan; the Madrid Codex is used as evidence based on the information offered by the female figures represented in 27 almanacs and in the diagram of the cosmos on pages 75-76. The percentage of female figures (10.15%), as well as the functions they perform in the different scenes, indicate that women have a secondary role, they can even be replaced by men. Evidence of a low intensity patriarchy is shown.
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Pub Date : 1900-01-01DOI: 10.32873/unl.dc.zea.1249
Sarai Ramos Muñoz
This study is the beginning of series articles in which some of the mountain temples from the Amerindian area will be compared and interpreted. The main propose is to find the relations between temples whereas the similarities and differences between the Mesoamerican and Andean worldviews. Therefore the analogy between the architecture, the sculpture and the painting will help us to comprehend not only the how, but the why and what for these monuments were made. This lecture aims to analyse and understand these relationships to a greater interpretation of Amerindian architecture and its worldview; the importance and the strong symbolism of these monuments and the legacy and influences that comes from them. For a start will be studied and compared some of the most representative temples of Chavín de Huántar, Tiahuanaco, Palenque and Tikal.
本研究是对美洲印第安人地区的一些山间寺庙进行比较和解读的系列文章的开始。主要的建议是找出神庙之间的关系，以及中美洲和安第斯世界观的异同。因此，建筑、雕塑和绘画之间的类比不仅有助于我们理解这些纪念碑是如何制作的，还有助于我们理解为什么要制作这些纪念碑。本讲座旨在分析和理解这些关系，以更好地解释美洲印第安建筑及其世界观;这些纪念碑的重要性和强烈的象征意义以及它们所带来的遗产和影响。首先，我们将研究和比较Chavín de Huántar、Tiahuanaco、Palenque和Tikal最具代表性的一些寺庙。
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Pub Date : 1900-01-01DOI: 10.32873/unl.dc.zea.1326
K. Tokutomi
Nami-Ko, also called The Cuckoo (不如帰, Hototogisu), is a tragic story of love and devotion, through sickness, war, oppression, and vengeance. Eighteen-year-old Nami Kataoka hoped her marriage to Baron Takeo Kawashima would bring freedom from her overbearing stepmother. But the couple’s happiness is spoiled by her illness, her mother-in-law’s jealousy, and the schemes of Chijiwa, her husband’s cousin and her own disappointed suitor. Takeo’s naval career takes him away for long periods, and when war breaks out between Japan and China (in 1894), his mother takes advantage of his absence to break up the marriage, sending Nami back to her father, the General Kataoka. Despite his love for Nami, Takeo— who is fearless and resolute in facing Chinese naval bombardment—is hesitant and seemingly helpless in the face of his mother’s interference. More than a love story, the novel is a reflection on the systemic oppression of women—even among the wealthy classes—as well as the contrast between traditional samurai values and the emergent commercial interests, and, moreover, the awakening of Japanese nationalism as expressed through military expansion.
{"title":"Nami-Ko: A Realistic Novel","authors":"K. Tokutomi","doi":"10.32873/unl.dc.zea.1326","DOIUrl":"https://doi.org/10.32873/unl.dc.zea.1326","url":null,"abstract":"Nami-Ko, also called The Cuckoo (不如帰, Hototogisu), is a tragic story of love and devotion, through sickness, war, oppression, and vengeance. Eighteen-year-old Nami Kataoka hoped her marriage to Baron Takeo Kawashima would bring freedom from her overbearing stepmother. But the couple’s happiness is spoiled by her illness, her mother-in-law’s jealousy, and the schemes of Chijiwa, her husband’s cousin and her own disappointed suitor. Takeo’s naval career takes him away for long periods, and when war breaks out between Japan and China (in 1894), his mother takes advantage of his absence to break up the marriage, sending Nami back to her father, the General Kataoka. Despite his love for Nami, Takeo— who is fearless and resolute in facing Chinese naval bombardment—is hesitant and seemingly helpless in the face of his mother’s interference. More than a love story, the novel is a reflection on the systemic oppression of women—even among the wealthy classes—as well as the contrast between traditional samurai values and the emergent commercial interests, and, moreover, the awakening of Japanese nationalism as expressed through military expansion.","PeriodicalId":213927,"journal":{"name":"Zea Books","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122666231","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.32873/unl.dc.zea.1405
I. Bargalló, Montserrat Bargalló
De los muchos personajes históricos y míticos que ha aportado América a la cultura, uno de los más conocidos y – al mismo tiempo – desconocidos es Moctezuma Xocoyotzin, el tlatoani reinante en México-Tenochtitlan a la llegada de Cortés, y es, sin duda alguna, un héroe tan digno de la lírica como Ulises, Eneas o Julio César. Por este motivo, durante el siglo xviii se compusieron un número muy importante de óperas dedicadas al soberano mexica, para un público algo cansado de los libretos relacionados con la mitología grecorromana y los dramas medievales. En este artículo presentamos una de ellas, probablemente la más conocida, la que estrenó Antonio Vivaldi el 14 de noviembre de 1733 en el Teatro Sant’Angelo de Venecia i que tiene una historia de novela. Siglos más tarde, el literato cubano Alejo Carpentier escribió Concierto barroco, un texto delicioso que pone de manifiesto las diferencias culturales entre americanos y europeos, excusándose en un encuentro entre Vivaldi i un indiano mexicano, durante el ensayo general de la obra del veneciano.
{"title":"Moctezuma entre bambalinas","authors":"I. Bargalló, Montserrat Bargalló","doi":"10.32873/unl.dc.zea.1405","DOIUrl":"https://doi.org/10.32873/unl.dc.zea.1405","url":null,"abstract":"De los muchos personajes históricos y míticos que ha aportado América a la cultura, uno de los más conocidos y – al mismo tiempo – desconocidos es Moctezuma Xocoyotzin, el tlatoani reinante en México-Tenochtitlan a la llegada de Cortés, y es, sin duda alguna, un héroe tan digno de la lírica como Ulises, Eneas o Julio César. Por este motivo, durante el siglo xviii se compusieron un número muy importante de óperas dedicadas al soberano mexica, para un público algo cansado de los libretos relacionados con la mitología grecorromana y los dramas medievales. En este artículo presentamos una de ellas, probablemente la más conocida, la que estrenó Antonio Vivaldi el 14 de noviembre de 1733 en el Teatro Sant’Angelo de Venecia i que tiene una historia de novela. Siglos más tarde, el literato cubano Alejo Carpentier escribió Concierto barroco, un texto delicioso que pone de manifiesto las diferencias culturales entre americanos y europeos, excusándose en un encuentro entre Vivaldi i un indiano mexicano, durante el ensayo general de la obra del veneciano.","PeriodicalId":213927,"journal":{"name":"Zea Books","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126130509","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.32873/unl.dc.zea.1082
L. B. Jørgensen
{"title":"Textiles from a Late Roman/Byzantine ecclesiastical centre at Abu Sha’ar, Egypt","authors":"L. B. Jørgensen","doi":"10.32873/unl.dc.zea.1082","DOIUrl":"https://doi.org/10.32873/unl.dc.zea.1082","url":null,"abstract":"","PeriodicalId":213927,"journal":{"name":"Zea Books","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125424312","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.32873/unl.dc.zea.1243
Patricia Ochoa Castillo
Figurines from the Formative period (2300 b.C.-100 a.C.) in the Mexican Basin, modeled out of clay, solid and anthropomorphic are distinguished for being realistic representations, and it seems like some of them are scale versions that recreate characters, which means that they are small sculptures inspired in some members of the community which stand out with differentiating attributes or paraphernalia. These attributes indicate clear social difference recognition, associated with characters which had specific roles inside the society and that seem to be ballplayer representations.
{"title":"Figurillas masculinas con atributos de rango, del Centro de México, durante el Formativo","authors":"Patricia Ochoa Castillo","doi":"10.32873/unl.dc.zea.1243","DOIUrl":"https://doi.org/10.32873/unl.dc.zea.1243","url":null,"abstract":"Figurines from the Formative period (2300 b.C.-100 a.C.) in the Mexican Basin, modeled out of clay, solid and anthropomorphic are distinguished for being realistic representations, and it seems like some of them are scale versions that recreate characters, which means that they are small sculptures inspired in some members of the community which stand out with differentiating attributes or paraphernalia. These attributes indicate clear social difference recognition, associated with characters which had specific roles inside the society and that seem to be ballplayer representations.","PeriodicalId":213927,"journal":{"name":"Zea Books","volume":"2021 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116772820","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1900-01-01DOI: 10.32873/unl.dc.zea.1215
Jean-François Genotte
The Vatican Museums keep a small collection of about sixty textile fragments mostly Lambayeque, Chimu and Chancay dating back to Late Intermediate Period. Unfortunately, the archaeological provenance of these items is not known. This paper offers a first overview of the history of the collection, describing its contents and, in more details, its most interesting fabrics. We will then suggest that some fragments of the Vatican collection might have been part of textiles once kept in the Musée du Trocadéro, and nowadays preserved in the Quai Branly Museum in Paris.
梵蒂冈博物馆收藏了大约60件纺织品碎片，其中大部分是Lambayeque, Chimu和chanay，可以追溯到中后期。不幸的是，这些物品的考古来源尚不清楚。本文首先概述了该系列的历史，描述了其内容，并更详细地介绍了其最有趣的面料。然后我们会提出，梵蒂冈收藏的一些碎片可能是曾经保存在mussame du trocadsamro的纺织品的一部分，现在保存在巴黎的Quai Branly博物馆。
{"title":"Ancient Peruvian textiles in the Vatican Museums and their link to the Musée du Trocadéro collections","authors":"Jean-François Genotte","doi":"10.32873/unl.dc.zea.1215","DOIUrl":"https://doi.org/10.32873/unl.dc.zea.1215","url":null,"abstract":"The Vatican Museums keep a small collection of about sixty textile fragments mostly Lambayeque, Chimu and Chancay dating back to Late Intermediate Period. Unfortunately, the archaeological provenance of these items is not known. This paper offers a first overview of the history of the collection, describing its contents and, in more details, its most interesting fabrics. We will then suggest that some fragments of the Vatican collection might have been part of textiles once kept in the Musée du Trocadéro, and nowadays preserved in the Quai Branly Museum in Paris.","PeriodicalId":213927,"journal":{"name":"Zea Books","volume":"52 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122139952","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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