We believe the world can be a better place. We believe that humanity has a higher, aspiring destination. We know that through mutual respect conflicts will subside. We know that by understanding our differences we can help one another. We believe that our Mother Earth and our Universe can provide unlimited resources for every man, woman and child to live in peace, happiness and love.As stewards of the human race we have an intrinsic responsibility to do what we can to improve our world as much as possible. The majority of human existence has been dominated by so-called Native groups, also known as tribal folk, original residents, indigenous people, aboriginals, First Nations, traditional ethnicities, autochthonous societies, autochthonal cultures, et. At some point, of course, our ancestors were the same regardless of current culture, creed or color. Regrettably, in the past half a millennium, thousands of unique tribal groups have disappeared due to misunderstanding, impudence and ethnocentrism. Aspects of colonialism, capitalism, racism and politicization have directly and circuitously destroyed myriad native cultures, each a once-valuable resource to our planet.
Of the nearly 7000 languages currently spoken on our planet, over 6000 are in immediate danger of becoming extinct. Nearly all of those are ethnic indigenous.
We believe the very few Native groups that remain on earth should be cherished and carefully supported. Unfortunately, we are on the brink of losing our connection with indigenous spirit, wisdom and traditional knowledge. For more than a quarter-century those of us behind AKATAKSA/ANDESAMAZON have dedicated our professional interests to documenting traditional South American indigenous cultures, especially through their material culture. Our field studies have led us to some of the most remote people on the continent.
We have witnessed Native Americans existing exactly as their ancestors did in prehistoric times and others who have jumped from 18th-century existence to 21st-century reality in the blink of an eye. Our ethnographic investigations have resulted in valuable data related to linguistics, cultural history, ethno-environmental relationships, socio-cultural organization, cosmology, mythology, spirituality and of course, material culture.
We have a detailed proposal for a magnificent cultural center aimed at stimulating interest in past and present indigenous cultures. Our unique idea is not just to show beautiful objects on display. Ours is to share the entire background of a piece, not only from a scientific or scholarly point of view but also from a cultural and spiritual perspective as well.
This holistic approach to understanding indigenous material culture shall include accompanying photographs, films, recorded testimonials, music, related specimens and even field notes. We want to inspire our visitors to continue their own investigations into realms of mysterious phenomena that we really know very little about. Apart from receiving monies for researching indigenous material culture, our sales contribute toward expanding interest in past cultures and ways of life.Not only can ones´ personal environment be enhanced with beautiful and interesting objects, but the benefits of knowing about different ideologies, unique ways of life and past or nearly-extinct traditions are utterly invaluable. We hope that whatever understanding, knowledge and insights are obtained from our objects will be shared with companions, friends and especially children. In this small way, we feel inspired in preserving something of native cultures and making the world a better place. Thank you for working with us.
AN ELEGANT HISTORIC CEREMONIAL PONCHO OF YURA INDIAN ORIGIN. Provenance: Field-collected in Tauro Abajo Village, elevation about 11,000 feet, Yura River drainage tributary to the great Pilcomayo (Pillku Mayu) River, Yura Pueblo Municipal, Antonio Quijarro Province, Eastern Andean Cordillera, Department of Potosí, Bolivia, South America.This lot consists of a hard-to-find ceremonial poncho of Yura Indian origin. The poncho was woven exclusively for ceremonial wear and incorporates desirable ikat (resist-dye) designs. Resist dyeing was commonly employed prehistorically in the Andean region of South America, probably beginning in Nazca times about 2000 years ago. Historically, however, only a few localities utilized resist-dye techniques for adding patterns to textiles. The Yura region in Potosí is one of those regions although the art was limited to only certain indigenous communities. The Yura Indians are among the most traditional of Andes Native Americans and occupy what until recently was an isolated part of the Potosí highlands incorporating fertile valleys with crystal clear streams, thorny-scrub hills, sandy plains, low-canopy forests and steep canyons studded with columnar cactus. The great variety of ecological zones allowed for equally varied forms of environmental adaptations. Some Yura communities specialize in growing maize; others potatoes and others wheat. Some Yura Indians are herdsmen of llamas, others of goats, sheep or cattle. People living in villages separated by only a narrow stream may speak different dialects, practice different ceremonial traditions and wear distinctive clothing. Until about a generation or two ago, many Yura men donned traditional khawa (unku), or sleeveless tunics of prehistoric style. Khawa were worn in very few Andean regions during the 20th century. Quechua is the predominant language today although forms of Aymara and Uruqilla were spoken historically. This beautiful Yura poncho is woven of finely hand-spun camelid and sheep wool. It was woven in two identical halves sewn together leaving a space for the head. Each half has both side and end selvage. The llama wool field is dark gray overall, consisting of alternating shades of dark gray and lighter gray yarns.
Although the poncho is fairly supple, the yarns are very tightly plied and the surface has a pleasant, light sheen. Each side of the poncho has three internal decorative bands, each consisting of 23 striped colors including: dark khaki green, light green, dull pink, purple, dark navy blue, dark red, burgundy red, rust orange, stark natural white (pure llama wool), cream (plied with light pink), extremely light pinkish white, fuchsia and medium green.
A khaki green color used in the fringed ribbon is probably dyed from natural thula plant (Lepidophyllum quadrangulare). It is possible that a couple of other colors, such as the rust orange, are also natural-dyed. Wide lateral bands consist of solid ikat, or resist-dye, patterns in the form of connected, paired diamonds in four color combinations.
The white lines delineating the diamonds are especially thin and the precision of the work is impressive. All of the colors complement the dark gray field beautifully. The periphery is finished with a woven fringed ribbon about one-half inch wide.
Short, tightly twisted looped fringe yarns are beautifully organized in multiple short segments of color. The fringe colors are the same as those in the striped bands. The textile was expertly and very finely woven with about 54 warps per inch and 14 wefts per inch. The poncho is nearly square in shape and medium in size.
It displays absolutely gorgeously on a mannequin or poncho stand and displays fairly well tacked flat on a wall. This is a beautiful and difficult-to-acquire example from the region that is 100 years of age or more.
Please refer to the ANDES AMAZON "DATING" TERMS. Materials: All of the yarns are fine, two-ply (Z-spun, S-plied), hand-spun wool.The field consists of tightly spun natural llama wool. The other warp yarns include dyed sheep wool, dyed llama wool and natural white llama wool. The weft yarns consist of fine, two-ply gray and brown llama wool. Approximate Size: 52 inches by 49 inches. The body of the poncho is perfectly intact with no holes or worn spots. The neck opening is not frayed and in excellent shape. There is no dye transfer from moisture (bleeding). The center seam is original and practically perfect. The colors are still rich with only light fading or muting. There are several spots along the edge with damaged or missing fringe; the worst is less than two inches long. Please refer to the photos and the ANDES AMAZON TEXTILE "CONDITION" TERMS. The disadvantage is that items will not arrive quickly. Items to the United States of America have arrived in as few as ten days. Our offices are not in close proximity to international postal service.
We promise to continue providing detailed and accurate information related to age, origin, condition and descriptions as we have for the past 15 years. PREHISTORIC, PRE-COLUMBIAN, ANCIENT = Before around A. 19th CENTURY = 1800 to 1899.TURN OF THE 19TH CENTURY = 1890 to 1910. EARLY-20TH CENTURY = 1900 to 1933. MID-20TH CENTURY = 1934 to 1966. LATE-20TH CENTURY = 1967 to 1999. TURN OF THE 20TH CENTURY = 1995 to 2005. EARLY-21ST CENTURY = 2000 to Present.
ANTIQUE = Over 50 years old. VINTAGE = Over 30 years old. CONTEMPORARY = Made in the last 5 years. CIRCA = Approximately/around/within a few years of.ANDES AMAZON TEXTILE CONDITION TERMS. Terms used to describe the physical condition of textiles can be subjective and vary greatly from one observer to another.
What some others call mint condition, we call good; what others call excellent condition, we call fair. Following are explanations of the terms we use. Unused -- as if recently removed from the loom. No wear or patina of any kind.
These textiles may have nubs or even loose, uncut threads from the weaving process. EXCELLENT = Usually only lightly used, often guarded or stored for many years. There may be extremely light wear, patina and sheen from use. There may also be nearly undetectable light staining or soiling from use.The colors may have muted ever so slightly due to age or exposure, often improving the beauty of a textile. VERY GOOD = Usually lightly or only periodically used. The surface may be very lightly but evenly worn. There are no tears or distracting holes.
There may be minimal surface discoloration. Vintage textiles may have lightly darkened yarn from use and age (staining and soiling). Overall, the textile will be in outstanding condition and at a displayable distance will appear perfect.
GOOD = Usually moderately to well-used. There may be light to medium staining, isolated or throughout. Some parts of the textile may be worn or have very small holes, occasionally exposing hidden thread yarns.
Edges may be lightly frayed. Surface discoloration due to age and exposure is common but often improving the appearance of a textile. There may be minor, light or isolated, dye run. Damage will not distract significantly from the textile when displayed.FAIR = Either well-used or moderately abused. Extensive wear is common as is some bleeding or dye run. In most 20th century cases, the colors have considerably faded. Sections of fringe or tassels may be missing. Textiles may be in otherwise excellent condition but with a single isolated sector of damage, that greatly reduces its aesthetic appeal. Most vintage tribal textiles on the market are in FAIR TO GOOD condition. POOR = Showing evidence of extreme usage and damage.
These textiles do not display well and are primarily useful as study specimens or examples of sometimes very rare textiles. THANK YOU FOR YOUR INTEREST AND SUPPORT.
1910 RESIST-DYE PONCHO Yura Quechua Andean Highlands Exc. TM12776" is in sale since Thursday, January 19, 2017.This item is in the category "Antiques\Ethnographic\Native American". The seller is "andesamazon" and is located in Santa Cruz, . This item can be shipped worldwide.