Color (Other Keyword)

DOCUMENT Citation Only Rebecca Stone.

Color is one of many key expressive modes for textiles in particular. Intense, communicative, and not always predictable, Andean textile coloration is a complex issue. Rather than submitting to a "cookbook" delineation of color symbolism (red means blood, etc.), the abstract mindset of ancient and modern Andean societies means that color has many more complex, even philosophical, roles to play in the fiber arts of this area. For instance, purposeful rupturing of regular color patterning...

DOCUMENT Citation Only Jill Neitzel.

The colors of turquoise and shell jewelry in the prehistoric U.S. Southwest were imbued with a diversity of inter-related symbolic meanings. To begin to understand these embedded messages, we must consider the results of cultural anthropologists’ different approaches to color perception and archaeologists’ reliance on ethnographic analogy. Stephen Plog’s seminal publication on the color symbolism of Pueblo pottery describes the religious significance of blue/green, the color of turquoise, and...

DOCUMENT Citation Only Jeffrey Splitstoser.

Inka khipus used cord color, knots, cord attachment, final twist, and sometimes material (e.g., colored camelid hair) to encode information. Middle Horizon (Wari) khipus used all these conventions and more. For instance, the thick, white, cotton pendant cords of MH khipus were routinely wrapped with brightly colored (usually camelid hair) yarns that most likely conveyed meaning. The thickness and structure of pendant-cords themselves likely held significance. Further, while Wari khipu makers...

DOCUMENT Citation Only Sarah Baitzel.

In the Andes, weaving and wearing cloth are essential for shaping identity and social relations. The weavers of the south-central Andean Tiwanaku state (Middle Horizon period A.D.500-1100) possessed knowledge of plant and animal fibers, weave techniques, dyes, and iconography which allowed them to produce a wide range of textiles, from the monochrome cloths of daily life to the vibrantly colored tapestries. Examining textile evidence from burials at the provincial center of Omo M10 (Moquegua,...

DOCUMENT Citation Only Susan Bergh.

Artistically elaborate tapestry-woven tunics were the raiment of rulers and other esteemed elites of the ancient Andean Wari civilization (AD 600-1000). The tunics’ figurative iconography is well known: drawn from a limited repertoire that often relates to the Wari state’s official religious cult, it almost always comprises a single type of motif that repeats many times in different orientations and color combinations (color blocks) across each tunic’s gridded body. Less legible and recognized...

DOCUMENT Citation Only David E Villa.

This is an abstract from the session entitled "Paper / Report Submission (General Sessions)", at the 2023 annual meeting of the Society for Historical Archaeology. This project is a study of the documentary record of the African American Dunkerhook community who lived in Paramus, NJ in the mid-19th century. Researching the lives of enslaved and free people of color requires a creative approach to documentary sources. For this project I looked at the records of people of color and white...

DOCUMENT Citation Only Marit Munson.

What defines an ochre: its chemical composition, its color, or both? The Ancestral Pueblo people of the US Southwest used a range of red and yellow pigments, some of which fit strict scientific definitions of ochre and some that do not. Ancestral Pueblo people also created a variety of paints by mixing these pigments with clays and other materials. In this paper, I consider the use of mineral pigments and paints through time and space, drawing on material from Chaco Canyon, Mesa Verde, ancestral...

DOCUMENT Citation Only Elena Phipps.

Andean textile artists transformed fibers and dyes from nature to create complex color palettes attuned to the aesthetic of their time and place. Creating unique qualities not only of value and hue, qualities of color—in nuance shades, degree of sheen and brilliance-- Andean dyers, spinners and weavers built a vocabulary of color that contributed to the meaning and value of textiles in their social, political and creative context. From Chavin religious and supernatural figures created through...

DOCUMENT Citation Only Elodie Dupey.

This is an abstract from the "Bringing the Past to Life, Part 2: Papers in Honor of John M. D. Pohl" session, at the 89th annual meeting of the Society for American Archaeology. This paper revisits the structure and contents of the greatest source—the only one of its kind—concerning the knowledge of color technology and, consequently, artistic practices of the ancient Nahua: the chapter on colors in Sahagún’s “Historia General de las Cosas de Nueva España,” which contains a description in...

PROJECT Uploaded by: Leigh Anne Ellison

The University of Pennsylvania Museum of Archaeology and Anthropology has had a long-standing interest in the archaeology of Iran. In 1956, Robert H. Dyson, Jr., began excavations south of Lake Urmia at the large mounded site of Hasanlu. Although the results of these excavations await final publication, the Hasanlu Special Studies series—of which this monograph is the fourth volume—describes and analyzes specific aspects of technology, style, and iconography. This volume describes a group of...