A UNIQUE AND BEAUTIFUL ANTIQUE ANDEAN INDIAN BLANKET FROM THE TUNUPA VOLCANO REGION OF BOLIVIA. Provenance: Field-collected in Jirira 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 offer includes a spectacular, original indigenous Native American hand-woven llawq´a phullu blanket in delightfully delicious colors. This interesting, all-hand-spun wool tapestry is of a type 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. This is medium-large blanket woven in two separate, rectangular halves that were joined together with a common seam. Curiously, one side is exceptionally wider than the other, which is practically unseen among Andean blankets; with few exceptions, Bolivian textiles with common seams are woven in two pieces of the same, or nearly the same size.
We can only speculate why this blanket is unique. Perhaps the weaver made a rather grievous error in her calculations. Or, maybe after weaving one-half of the blanket, she changed her mind about its function or who it was intended for, so, she adjusted the size by weaving one side narrower or wider. Or, and we like this possibility best, the weaver was just a liberal, Native American woman who independently and without cultural constraints created an avant-garde work of textile art that some may have ridiculed and others esteemed.
Given the bizarre and dynamic patterns that she wove in her masterpiece, the latter explanation has merit. This was a visionary master who was off the charts.The blanket represents one of the strangest and most eye-catching Andean examples that we have seen of more than 2000 examples. Each of the two sides is woven as if it were a blanket in itself. Note that the zigzag fields of each side are framed by serrated vertical triangles with filled-in colors. Although the color distribution appears random, it is actually nicely balanced throughout. The electric undulating patterns, sometimes connected, sometimes independent, offer the viewer a fulfilling banquet of diverse color combinations. The piece was woven with about 20 wefts per inch and five to six warps per inch.
A dyed burnt-umber color is probably natural and derived from kitchen soot, called qhisima in Aymara. The blanket is in superb condition and displays fabulously on the wall. This is a visually captivating, one-of-a-kind antique American Indian blanket that is without doubt an irreplaceable masterpiece of the textile arts. Please refer to the ANDES AMAZON "DATING" TERMS.
Materials: All of the yarn (warp and weft) is traditional drop-spindle, hand-spun, two-ply sheep wool: Z-spun, S-plied. Most of the yarns are dyed but the white and dark gray wool is natural.Approximate Size: 67 inches by 53 inches. There are no holes, worn spots, stains or dye-run.
Many of the colors have pleasantly muted with age; none are garish. This is an older textile in rare, beautifully-displayable condition.
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 18 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 in 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 preserving 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-museum 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. Thanks for working with us. THANK YOU FOR YOUR INTEREST AND SUPPORT. The item "TEXTILE ART MASTERPIECE ANTIQUE BLANKET Aymara Indian Superb Condition TM12958" 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.