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Indigenous tribes in latin america
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The Paracas’ textiles specify the beliefs of the South American people through the woven representation of gods and other creatures. There are textiles depicting entities like the typical Eye god and shamanic/composite animals. These figures have most likely been deemed spiritual because a number of these textile were found wrapped around dead bodies, so they must have had some purpose in the afterlife I also believe there is a strong sense of abstraction within the textiles because the creators were trying to focus solely on the abstract ideals of their beliefs, rather than the realistic aspects of their lives. Their beliefs in things like two headed figures and mythological type creatures are obviously abstract focuses in their
Verano used imagery in this book to help the readers understand what all of this looks like. She says “ It covered the neighborhood, but not the fields behind the house, which are still green. And it doesn't sparkle. Turns out it's not snow but cottonwood fluff.” This gave me an image of what the cottonwood actually looked like. She wants to give an idea about Paige's feelings and so that the reader can know what she is going through and it's like you're stepping into the characters shoes. She wants the readers to have an escape from reality and feel like you're IN her book, like your Page and YOU'RE going through what she
Meso-American religion involves a variety of beliefs and rituals of the people of Central America and Mexico before the arrival of the Spanish in the 1500s C.E. The beliefs of the ancient Meso-American religious traditions were focused around an annual calendar that had an accompanying ritual cycle. This calendar was associated with various Meso-American deities, often representing different aspects of the cosmos including a creator god, a god of war, a sun god, a fire god, etc. Various beliefs were practiced by the ancient Meso-American peoples that included diverse forms and levels of the afterlife, with each containing its own deity. Religious rituals and practices were typically governed by priests that had been educated in astronomy and genealogy. These priests were often adorned with jewels, ornaments of many colors, exquisite jewels and many had dual roles as diviners. Using idols was common in Meso-American religion and they were usually depicted in the form of animals or having animals as a part of them. Several of these ancient traditions included rituals of sacrifice to the gods, even human sacrifice.
The painting is organized simply. The background of the painting is painted in an Impressionist style. The blurring of edges, however, starkly contrasts with the sharp and hard contours of the figure in the foreground. The female figure is very sharp and clear compared to the background. The background paint is thick compared to the thin lines used to paint the figures in the foreground. The thick paint adds to the reduction of detail for the background. The colors used to paint the foreground figures are vibrant, as opposed to the whitened colors of the Impressionist background. The painting is mostly comprised of cool colors but there is a range of dark and light colors. The light colors are predominantly in the background and the darker colors are in the foreground. The vivid color of the robe contrasts with the muted colors of the background, resulting in an emphasis of the robe color. This emphasis leads the viewer's gaze to the focal part of the painting: the figures in the foreground. The female and baby in the foreground take up most of the canvas. The background was not painted as the artist saw it, but rather the impression t...
A good example of imagery can be found at the end of the story in the last paragraph. For this part of imagery, the main character Jackson Jackson has received his grandmother’s regalia from the pawn shop employee without having to pay the total of $999 he originally had to pay. (Alexie) “I took my grandmother’s regalia and walked outside. I knew that solitary yellow bead was part of me. I knew I was that yellow bead in part. Outside, I wrapped myself in my grandmother’s regalia and breathed her in. I stepped off the sidewalk and into the intersection. Pedestrians stopped. Cars stopped. The city stopped. They all watched me dance with my grandmother. I was my grandmother, dancing.” This statement made at the end of the story indicates a strong sense of imagery that details Jackson’s emotions towards getting his grandmother’s regalia from the pawn shop. The yellow bead he mentions was his strongest symbol of feeling toward his grandmother, feeling as if he were a part of that yellow bead, in this case, his grandmother. Jackson describes in more detail of how he felt more like his grandmother after he wrapped the regalia around him. The pedestrians, city, everything around him was watching him feel like his grandmother, like some sort of flashback he could be
...haracters’ clothing is not discussed in the book, so I cannot really apply this theme to it.
For the pre-Chavin period, the object of worship was the feline, but this was gradually changed. By the time of Chavin de Huantar, it was anthropomorphic. During this time, it was believed that priests could become jaguars and interact with the supernatural forces. This was achieved by taking hallucinogenic drugs as part of rituals at the Old Temple. There are many sculptures that decorate the Old Temple depicting the transformation of the priests. There have been mortars, pestles, conch-shell trumpets, and many other items with anthropomorphic design found and thought to be associated with Chavin rituals.
...presenting Aztec gods). The eagle represented the images of the sun while descending and the jaguar represented the death of the sun (when the sun was not present in the sky). “This solar association refers to the Aztec warrior’s primary function, acquiring victims to nourish the sun” (Pasztory, 82). The ixcahuac, obsidian stone knives can be found in the Museo Nacional de Antropoligia, Mexico.
...d that is linked to the ‘Transformation’. Native Americas shared the transformation theme, and it was a common feature of Kwakwaka’wakw masks. The mask is designed to be opened and closed by a hidden string, which the dancer change their figures back and forth between an animal and a human spirit. (Kleiner, p. 864) By representing both human and animal figure at a time, the mask embodied mythological idea of appreciation and celebration of life and Kwakwaka’wakw people’s tries to interact with the world.
In the beginning, the Spanish did not allow the indigenous natives create Christian sculptures because they were concerned as to how they would depict religious figures such as Christ. However, they slowly taught them how sculpting was done in Europe and the natives began to copy that, while also adding their own flair. One example of this is the Christ of the Earthquakes or Tata Taytacha. This work shows Christ on the cross, but the figure is in dark colors. This is thought to be representative of the darker shade of the native skin. This means the natives depicted Christ as being indigenous. This also shows that the natives are no longer just depicting the religion in their art because they are being forced to by the Spanish, but also because they are starting to feel as though they are a part of the religion and can relate to it. Another example from this time period has to do with the detail on the artwork. Textiles were always a very important part of the Peruvian culture and this was carried over into their artwork, whether it was in religious paintings to non-secular paintings. There are two major examples of works that support this idea. The first example of this can be seen in Asiel Timor Dei, Angel Harquebusier that shows an angel standing with a gun. It is thought that this was influenced by prints from Europe of soldiers, and then this idea was applied to the angels. The indigenous influence can be seen in the clothing, which has a lot of intricate details on it. Textiles were extremely important in Peru and the traditional dress of the Peruvians would be intricately decorated and would often be decorated in gold. This is clearly mirrored in the clothing of the angel in this piece. The second one is The Virgin as a Child Spinning Thread that shows the importance of textiles in many ways. First of all, the clothing of the virgin is heavily decorated
Metaphorically and spiritually, the cloth may be seen as the little boy’s soul. Another metaphorical representation of the little boys soul
The clothing also represents the breakdown of the society. To begin, most of the boys were wearing school uniforms and some were wearing choir robes. This shows they are educated, civilized young men, who are most likely from, or around the city. As time passes, the boys do not remain fully clad. They shed their shoes and shirts. Their hair grows longer, and they are dirtier. This resembles their civilized ways beginning to fade. They also started using face paint for camouflage, and it eventually becomes a ritual.
For example, the Chi Wara is a ceremonial object. The Chi Wara is from the Bamana people, who used the visuals of dance as well in their art. The Chi Wara is a mystical, zoomorphic, animal headpiece that encompasses an antelope, anteater, and human. It is said to bring favors of fertility, agri...
The woman then walked into a house, sat down on a chair, and fall into sleep. Having a close-up of her eyes to show the imagination leads into the dream. At this point, it shows that the woman has already been tempted. In the second repeat, mirror weirdo shows up and takes the flowers on the ground, while the knife is falling down from the bread. This indicates that the desire of sex has been brought out. When the woman sees the mirror weirdo serve no purpose and pulled out the key from mouth, it means that she already starts self-reflecting and consciously asserting her right, which puts in a private place for safekeeping. In the third repetition, a mirror weirdo holds a flower directly into the house and walks up the stairs. The woman follows behind, but a mirror weirdo disappears and leaves the flower on the bedside. The woman’s expression is uncertain this time. In her subconscious mind, she starts distrusting what she had seen. In the last repetition, the
Weaving is a common thread among cultures around the world. Weaving is a way of producing cloth or textile. Today we have machines that weave large-scale textiles at cheap prices. Production of cloth by hand is rarely engaged in today’s Westernized societies. Not many people are thinking about how the fibers are actually constructed to make their clothes. However, in other cultures across the world the tradition of weaving still exists. By comparing three cultures that continue weaving as a part of their tradition we can see similarities and the differences between them. The reasons that each culture still weaves vary, as do the methods and materials. The desired characteristics of the cloth also vary around the world as each culture values different aesthetics.
Clothing has been around for thousands of years; almost as long as the modern human has. At first, it served the practical purpose of protection from the elements; but, as life for early humans stopped being a constant struggle to survive, they started noticing how they looked and the concept of fashion began to take shape. These first few garments were typically dyed draped cloth that was pinned at the shoulder and/or waist. This was seen in many ancient civilizations around the world, Greek and Roman the most notable. Over time, clothing began to get more and more complex and formed to the body’s shape, eventually leading up to the tailored style we now have today. However, the sophisticated world of Haute Couture; or high fashion, can distinctly trace its roots to Paris during the mid-19th century. Clothing from there was thought to be superior to those from anywhere else, and women began to come from all over Europe just to buy dresses. This was probably due in part to one notable dressm...