Antique Native American Indian

PHENOMENAL & GORGEOUS WEDGE-WEAVE Navajo-like ART Antique Andean Blanket TM12954

PHENOMENAL & GORGEOUS WEDGE-WEAVE Navajo-like ART Antique Andean Blanket TM12954
PHENOMENAL & GORGEOUS WEDGE-WEAVE Navajo-like ART Antique Andean Blanket TM12954
PHENOMENAL & GORGEOUS WEDGE-WEAVE Navajo-like ART Antique Andean Blanket TM12954
PHENOMENAL & GORGEOUS WEDGE-WEAVE Navajo-like ART Antique Andean Blanket TM12954
PHENOMENAL & GORGEOUS WEDGE-WEAVE Navajo-like ART Antique Andean Blanket TM12954
PHENOMENAL & GORGEOUS WEDGE-WEAVE Navajo-like ART Antique Andean Blanket TM12954
PHENOMENAL & GORGEOUS WEDGE-WEAVE Navajo-like ART Antique Andean Blanket TM12954
PHENOMENAL & GORGEOUS WEDGE-WEAVE Navajo-like ART Antique Andean Blanket TM12954
PHENOMENAL & GORGEOUS WEDGE-WEAVE Navajo-like ART Antique Andean Blanket TM12954
PHENOMENAL & GORGEOUS WEDGE-WEAVE Navajo-like ART Antique Andean Blanket TM12954
PHENOMENAL & GORGEOUS WEDGE-WEAVE Navajo-like ART Antique Andean Blanket TM12954

PHENOMENAL & GORGEOUS WEDGE-WEAVE Navajo-like ART Antique Andean Blanket TM12954

Experts in Finding Rare Tribal Art for Your Collecting Interests. A REMARKABLE ANTIQUE ANDEAN INDIAN TAPESTRY BLANKET FROM THE BOLIVIAN ALTIPLANO.

Provenance: Field-collected in Challacota Village, elevation about 12,000 feet, Andean Altiplano, Ladislao Cabrera Province, Department of Oruro, Bolivia, South America. This region is dominated by the stratovolcano locally called Tata Tunupa , which rises to an elevation of 17,457 feet. This huge mass of mountain lies on the north edge of the world´s largest salt lake, Salar de Uyuni , and is the prominent landmark for a hundred miles. Challacota Village is located about 30 miles north of the mountain. Although the volcano is scientifically classified as dormant, it is controlled by a powerful spirit, Tata (father) Tunupa , who is anything but asleep.

Tata Tunupa forms a powerful vortex of energy that is feared and revered by all local Indians. The massive mountain receives frequent sacrifices (wilanchanaka) and offerings (waxtanaka). He is the guardian of dozens of dry caves and rock shelters that have been used for the ritual internment of innumerable deceased American Indians for at least 1500 years. He also plays a very significant role in Andean mythology and native folklore.

Curiously, a great many historic blankets handwoven under the auspices of Tata Tunupa exhibit unique, bizarre, fantastic and totally nontraditional design work and patterns. This is one such blanket. This is yet another marvelous tapestry textile from this interesting region whose extraordinary design work departs sharply from traditional, more uniform Andean patterns.

Many collected examples resemble abstract impressionism modern art; this one has the added distinction of being a close facsimile of 19th-century Navajo wedge-weave textiles. These particular masterpieces of textile art are woven of two-ply yarns, mostly by Aymara-speakers, and come from the regions near the salt lakes Salar de Coipasa and Salar de Uyuni , in close proximity to the Tunupa Volcano. Related weft-faced tapestries from south of Salar de Uyuni in Bolivia to northern Argentina are woven of single-ply yarns mostly by Quechua-speakers. Many of the southern examples resemble historic Rio Grande weavings from New Mexico and southern Colorado or Navajo weavings from New Mexico and Arizona. In general, post-Colonial weft-faced textiles of indigenous origins are rare in Bolivia.

The iconographic relationships between indigenous and Spanish Southwest United States textiles and those from Salar de Uyuni, Bolivia should appeal to students of textile art history who wish to delve into some fascinating exploratory research. This interesting, all-hand-spun wool tapestry is locally referred to by a number of names, which include terms in Aymara, Quechua and probably extinct Uruqilla languages.

These include: kama phullu, phullu ikiña, junta phullu and llawq´a phullu (also llawq´añ phullu and llawq´a ikiña). The latter terms are especially interesting as they come from the uncommonly-used Aymara verb, llawq´aña , which translates in English as meddling with the fingers or creating something by manipulating the fingers. Weft-face blankets are known from only a few localities in the Andes -- their presence on the Altiplano was first reported by our own ICB investigators.

The blanket was woven in two separate, long, rectangular halves that were joined together with a hidden seam, similar to many Rio Grande blankets. The all-hand-spun dyed yarns include long-staple Criollo sheep wool and fine llama wool. In Bolivia, dyed llama wool is mostly associated with textiles dating from the late-19th century to the early-20th century.

There is an average of about 20 wefts per inch and six warps per inch. The weave is relatively flat and even.

Nearly all of the wedge-weave zigzags were created with the use of lazy-lines, commonly found in Navajo weavings from the American Southwest, Mayo Indian blankets from Sonora, Mexico and Kelim (Kilim) textiles from the Mid-East and Balkans. The blanket design work is dominated by seemingly disorderly sections of zigzag patterns in mutinous color combinations. The textile is entirely unlike mainstream Andean weaving where patterns are usually very regular and, more often than not, appear as mirror images from one side of the textile to the other. Yet, when viewed as a whole, this artwork is impressive and captivating, begging a well-deserved smile of approval to a now-deceased Native American weaver of genius imagination. Please refer to the ANDESAMAZON "DATING" TERMS. Materials: All of the yarn is hand-spun two-ply: Z-spun, S-plied. The visible weft yarns are mostly from dyed sheep wool, however, at least one color (melon) includes dyed llama wool plied with dyed sheep wool. The hidden warp yarns are fine natural brown camelid wool, which is either alpaca or young llama. The hidden seam consists of natural black and brown llama wool.

Approximate Size: 67 inches by 54 inches. Condition: EXCELLENT, used and well-kept condition.

Although vivid (as per the photos), most of the colors have attractively and lightly muted or faded from age. There are a few extremely light blemishes from use that are very difficult to see. A couple of spots along the center seam are lightly worn. Otherwise, the textile is in superb condition; it displays absolutely beautifully and elegantly. Please also refer to the photos and the ANDESAMAZON 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. ANDESAMAZON is a transformed continuation of AKATAKSA, which began in February, 1999. We are indebted to Pete Fritz, U.

Veteran and retired NASA engineer who maintained our sales for over 18 years. An avid collector and promoter of antiques and tribal art, Pete retired from AKATAKSA in 2017 at age 88. Te saludamos nuestro amigo, maestro, papá, abuelo y bisabuelo. We promise to continue providing detailed and accurate information related to age, origin, condition and descriptions as we have for the past 20 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. 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, being 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. THANK YOU FOR YOUR INTEREST AND SUPPORT.

The item "PHENOMENAL & GORGEOUS WEDGE-WEAVE Navajo-like ART Antique Andean Blanket TM12954" is in sale since Thursday, May 24, 2018. 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.


PHENOMENAL & GORGEOUS WEDGE-WEAVE Navajo-like ART Antique Andean Blanket TM12954