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tlatollotl · 7 years ago

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Camelid figurine

Date: 1400–1533

Geography: Ecuador, Peru, Bolivia, Chile, or Argentina

Culture: Inca

Medium: Alloys of silver, gold and copper

This male camelid figurine, potentially representing a llama, has a solid head and a hollow body. While many similar camelid figurines are made of hammered sheet, X-radiography confirms that this figurine was cast by the lost wax method (see image 3) in two distinct casting stages to achieve different metallic effects. The first step was the casting of the llama’s head (see image 4), neck, torso (see image 5), and tail (see image 6), as well as its legs, with a silver-copper-gold alloy. As part of this first step, the wax form of the torso was modelled around a ceramic core that now forms a hollow space within the camelid’s body (the space is not visible to the viewer as it has been covered over by a silver metal plug at the chest, visible in the X-ray). The second casting step was the creation of the head and upper or rear elements of the body and tail in a more gold-rich silver metal. This second casting operation was accomplished by casting directly onto the solidified silver-rich portions. X-radiography reveals extensive porosity throughout most of the silver metal areas, a feature caused by gas trapped in the molten metal during casting, which contrasts with a lack of porosity in the gold-rich areas. This difference suggests that the second step in casting may have been undertaken to correct flaws or areas of weakness associated with the porosity in the first. XRF analysis of the two metal elements indicates that the silver-rich metal contains approximately 72% silver, 20% copper and 7% gold while the more gold-rich areas contain roughly 50% silver, 42% gold, and 8% copper. Following casting, the metal worker employed tracing and engraving tools to form the details of the inner ear, the eyes, the nostrils, the mouth, and the toes. The object may be considered a huaca, a Quechua and Aymara word for a sacred being among Andean peoples. Huacas may take the form of artificial anthropomorphic or zoomorphic objects, as well as rocks, mountains, and mineral sources (Cruz 2009). Throughout the Andes, camelids, including two wild and two domesticated species, are prized for their wool and meat (Moore 2016). For the Incas, their human ancestors, along with camelids, were thought to have come into existence from a cave at Pacariqtambo. In the Andes, camelids, whose hides and bones were turned into a range of products, are charged with carrying goods as part of caravans. Camelid figurines may be components of the Inca ritual performance of capac hucha, a Quecha term meaning ‘royal obligation’, in which, according to 16th century Spanish chroniclers (Cieza de León 1959, 190-193; Diez de Betzanos 1996, 46, 132), could involve annual celebrations in Cusco where prophecies were given for the coming year as well as sacrificial offerings of llamas, maize, and children, whether as a dedication to the Sun or for particular royal events, including the Sapa Inca’s death. As part of this performance, in some cases, juveniles were ritually married in Cuzco and then sent on processions to points as far north and south as Isla de la Plata in Ecuador and Cerro El Plomo in Chile, respectively, where they were sacrificed and buried, wearing textiles, and accompanied by dressed metal and Spondylus spp. shell figurines, ceramic vessels, and other shell and metalwork. The motivation of the capac hucha was to commemorate particular royal events and to mark the expansion of the Inca Empire. However, such figurines may have been deposited with other intentions, and without human burials. In one case, four camelid figurines in metal and shell were recovered in a line oriented to the southeast and in association with stones related to the usnu, or altar, of Cuzco as part of the dedication of sacred space in the Haukaypata, or main plaza of Cuzco (Farrington and Raffino 1996, 73). Camelid figurines were occasionally designed with special ornamentations, such as those seen on two figurines from the region of Lake Titicaca, including the attachment of a textile blanket adorned with gold appliqué and cinnabar (AMNH B/1618) and a highly corrugated surface to index the texture of the animal’s pelage (AMNH B/1619). These ornamentations, or inherent aspects of the design of the figurines, testifies to the ways that metallurgists distinguished their ritualized work. At present, there is little archaeological indication of production sites for these figurines, but Spanish chroniclers point to Cuzco. Many Inca camelid figurines in metal tend to be around the height of 1974.271.36, but there are exceptions (such as the two aforementioned AMNH figurines) that are larger, at 23–24 cm. The height groupings of the camelid figurines are in some way comparable to those of the Inca anthropomorphic figurines in metal but appear to show a bipartite rather than a tripartite grouping (see McEwan 2015, 282, n. 15). In Spondylus spp., the heights of camelid figurines may range from approximately 2 to 7 cm without clear groupings across that range. It should be recognized that many of the sites from which these figurines have been recovered are sacred to local indigenous communities (see Aguero 2004, Fine-Dare 2009, and Politis 2001 on the display of human remains from the mountaintop capac hucha site of Llullaillaco in Argentina). Eleven camelid figurines in silver, gold, and Spondylus spp. were associated with the human male juvenile’s grave at Llullaillaco but none was found with the two human female graves (MAAM 2007, 52). A hollow camelid figurine, made of gold-silver-copper sheets joined mainly by solder, was recovered from the capac hucha burial of a 7-year-old human male at Cerro Aconcagua, also in Argentina (Bárcena 2004). While camelid figurines are often found with male capac hucha burials (King 2016), a strict gender correlation is not clear. At Choquepujio, in the Cusco Valley, a Spondylus male camelid figurine was found resting in a Spondylus valve associated with the Inca burial of a female juvenile (11–12 years old) inside a pre-Inca temple (Gibaja et al. 2014). In excavating a burial of a male juvenile (6–7 years old), investigators recovered two Spondylus female camelid figurines. In these assemblages, camelid figurines were social actors, having their own camay, a Quechua term that could be translated as “energizing power,” through interaction with other assemblage components and with the human actors that made and deposited them. The deterioration of these objects, or their removal from their original locations in the earth, has surely changed their efficacy. Technical notes: Optical microscopy, new X-radiography, and XRF conducted in 2017. Bryan Cockrell, Curatorial Fellow, AAOA Beth Edelstein, Associate Conservator, OCD Ellen Howe, Conservator Emerita, OCD Caitlin Mahony, Assistant Conservator, OCD 2017 Further Reading Aguero, Adrian. Violan derechos de las momias del Llullaillaco. Argentina Indymedia. Last modified August 24, 2004, http://argentina.indymedia.org/news/2004/08/218027.php. Bárcena, J. Roberto. “Las piezas metálicas de la ofrenda ritual del Cerro Aconcagua, Mendoza, República de Argentina.” In Tecnología del oro antiguo: Europa y América, edited by Alicia Perea, Ignacio Montero, and Óscar García-Vuelta, 157-172. Madrid: Consejo Superior de Investigaciones Científicas, 2004. Cieza de León, Pedro de. The Incas. Edited by Victor Wolfgang von Hagen. Translated by Harriet de Onis. Norman: University of Oklahoma Press, [1553] 1959. Cruz, Pablo J. “Huacas olvidadas y cerros santos: Apuntes metodológicos sobre la cartografía sagrada en los Andes del sur de Bolivia.” Estudios Atacameños (San Pedro De Atacama) 38 (2009): 55-74. Diez de Betanzos, Juan. Narrative of the Incas. Translated and edited by Roland Hamilton and Dana Buchanan. Austin: University of Texas Press, [1551-57] 1996. Farrington, Ian, and Rodolfo Raffino. “Mosoq suyukunapa tariqnin: Nuevos hallazgos en el Tawantinsuyu.” Tawantinsuyu 2 (1996): 73-77. Fine-Dare, Kathleen S. “Bodies Unburied, Mummies Displayed: Mourning, Museums, and Identity Politics in the Americas.” In Border Crossings: Transnational Americanist Anthropology, edited by Kathleen S. Fine-Dare and Steven Rubenstein, 67-118. Lincoln: University of Nebraska Press, 2009. Gibaja Oviedo, Arminda M., Gordon F. McEwan, Melissa Chatfield, and Valerie Andrushko. “Informe de las posibles capacochas del asentamiento arqueológico de Choquepujio, Cusco, Perú.” Ñawpa Pacha 34, no. 2 (2014): 147-175. King, Heidi. “Further Notes on Corral Redondo, Churunga Valley.” Nawpa Pacha 36, no. 2 (2016): 95-109. McEwan, Colin. "Ordering the Sacred and Recreating Cuzco," in The Archaeology of Wak'as: Explorations of the Sacred in the Pre-Columbian Andes, edited by Tamara L. Bray, 265-291. Boulder: University Press of Colorado, 2015. Moore, Katherine M. “Early Domesticated Camelids in the Andes.” In The Archaeology of Andean Pastoralism, edited by José M. Capriles and Nicholas Tripcevich, 17-38. Albuquerque: University of New Mexico Press, 2016. Museo de Arqueología de Alta Montaña (MAAM). Museo de Arqueología de Alta Montaña. Buenos Aires: Fondo Nacional de las Artes, 2007. Onuki, Yoshio, and Fernando Rosas Moscoso. Exposición del gran Inca eterno: La tristeza de la niña "Juanita.” Lima: Museo Nacional de Arqueología, Antropología e Historia del Perú and Museo Santuarios Andinos, 2000. Politis, Gustavo. “On Archaeological Praxis, Gender Bias and Indigenous Peoples in South America.” Journal of Social Archaeology 1, no. 1 (2001): 90-107.

The Met

#archaeology #arqueologia #ecuador #peru #bolivia #chile #argentina #llama #silver #gold #copper #plata #oro #cobre #art #arte #history #historia

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jeremystrele · 5 years ago

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Announcing… The Design Files Design Awards FINALISTS!

TDF Design Awards

by Lucy Feagins, Editor

Austin Maynard Architects, Empire House. Photo – Derek Swalwell.

LEFT: MRTN Architects, Dark Light House. Photo – Tatjana Plitt. RIGHT: Hannah Tribe, House In Darlinghurst. Photo – Katherine Lu.

Left: Chelsea Hing, Yarra Valley House. Photo – Sean Fennessy. Styling – Beck Simon. Right: Doherty Design Studio, Thornton Residence. Photo – Derek Swalwell.

Left: Withers Group, Portsea Garden. Photo – Amelia Stanwix. Right: Clapham Landcape Architecture, The Enchanted Garden. Photo – Alex Reinders.

Left: Nick Rennie Studio, Sway Lamp. Photo – courtesy of Nick Rennie. Right: Milligram Studio & One Design Office, Form. Photo – Nathan Davis.

Left: Cameron Foggo, Bureau Sofa. Photo – Jake Wallace. Right: Fomu Design, Odie Chair. Photo – Sean Fennessy.

Left: GEORGE, Woven bag series. Photo – Victoria Zschommler. Styling – Nat Turnbull. Right: Variety Hour, Tourist. Photo – Rod Pilbeam.

Left: FloweringNOW, Flowering Now 2018. Photo – Cassandra Tzortzoglou. Right: BESS, Wilflower Trolleys. Photo – Pablo Veiga. Syling – Megan Morton.

Left: Stephanie Somebody, Real Living – Styling With Fruit. Photo – Lauren Bamford. Right: Rone International, RONE EMPIRE. Photo – RONE. Styling – Carly Spooner.

Left: Asobimasu Clay, Kaiketsu Vase. Photo – Adam Brady. Right: Nicolette Johnson, Dark Tower. Photo – Nicoleette Johnson.

Left: Milou Milou, Luxury Custom Flac Linen Bed Garments. Photo – Lillie Thompson. Styling – Nat Turnbull. Right: Contain Studio & Swear Words, Milk in Glass. Photo – Gareth Sobey. Styling – Melinda King.

Left: Tantri Mustika Ceramics, Garnitures. Photo – Melissa Cowan. Right: Studio Edwards, House 28. Photo – Tony Gorsevski.

Left: Thomas Coward & Artedomus, New Volumes™. Photo – Sean Fennessy. Styling – Natalie Turnbull. Right: Tom Fereday & Earp Bros, OMNI Breeze Block. Photo – Jason Busch.

Why another awards program? I’m so glad you asked. The Design Files Design Awards isn’t quite like other programs. We wanted to create an awards program to acknowledge the huge variety of design and creativity we champion here on The Design Files – from small scale, handcrafted practices, to creative collaborations, right through to architecture, landscape design and interiors. There’s no hierarchy here �� we feel that the people working across all these disciplines each make a uniquely important contribution to pushing creative culture forward in Australia.

Looking at the great variety of architects, designers, and creative practitioners shortlisted below, we feel that this program really does present a succinct snapshot of Australia’s most exciting creative happenings right now!

The photographs you see here are merely a *taste* of the creative projects who’ve been shortlisted in these awards. Not all projects are pictured – yet! Below, is an exhaustive list of all shortlisted entries, and in the coming weeks, we will delve deeper into each category, providing a closer look at the finalists across each discipline.

RESIDENTIAL ARCHITECTURE

This category seeks to award one standout Australian residential architecture Project. Ground-up builds, renovations and additions are all eligible within this category.

Judges: Clare Cousins (Clare Cousins Architects), Graham Burrows (JCB) and Albert Mo (Architects EAT)

The Residential Architecture award is supported by Brickworks.

Archer Office – Camperdown Warehouse Austin Maynard Architects – Empire House Edition Office – Point Lonsdale House Edition Office Hawthorn House Olaver Architecture – House 1602 WOWOWA – II Duomo Hogg&Lamb – B&B Residence Madeleine Blanchfield Architects – Crescent Head House Splinter Society Architecture – Cornerstone House Vokes & Peters – Subiaco House Tribe Studio – House in Darlinghurst Sibling Architecture – Hello Houses MRTN Architects – Dark Light House Partners Hill – Mermaid Multihouse Bligh Graham Architects – Harriet House

INTERIOR DESIGN

This category seeks to award one distinctive Australian residential interior design Project created by an individual or studio.

Judges: David Flack (Flack Studio) Yasmin Ghoniem (Amber Road) and Adriana Hanna (Kennedy Nolan)

The Interior Design award is supported by Miele.

Brammah Interior Design – Ferndale House Chelsea Hing – Yarra Valley House Workroom – Huntingtower Residence Doherty Design Studio – St Kilda Residence Doherty Design Studio – Thornton Residence Matt Woods Design – Perfect Storm Olivia Bossy – Freshwater Dylan Farrell Design – Sydney Contemporary Perch Sarah Cosentino & Felicity Slattery – Portsea Beach House Simone Haag – House Poynton Larritt-Evans – Elwood House Georgina Jeffries – The Victorian Kate Challis Interiors – Gertrude Street Project

LANDSCAPE DESIGN

This category seeks to award one standout Australian Landscape Design project. Residential, public and community gardens are all eligible within this category.

Judges: Paul Bangay (Paul Bangay Garden Design), Rick Eckersley (Eckersley Garden Architecture) and Georgina Reid (The Planthunter)

The Landscape Design award is sponsored by Eco Outdoor.

Alexandra Farrington & Alfalfa Landscape Architecture + Design – East Pilbara Arts Centre Elizabeth Prater – The Sir George Jamie Clapham Landscape Architecture – The Enchanted Garden Kate Seddon Landscape Design – Pavillion Courtyard Lisa Ellis Gardens – The Eastern Terrace Mud Office – New Street, Brighton Mud Office – Waterdale Road Muir & Openwork – Doubleground Rush Wright Associates – Victorian Comprehensive Cancer Council Withers Group – Portsea Garden

LIGHTING DESIGN

This category seeks to award one distinctive Australian lighting design project. Individual products or product ranges developed within Australia, bespoke designs, one-off lighting projects and installations will be considered in this category.

Judges: Christopher Boots (Christopher Boots) and Kate Stokes (Coco Flip).

Anna Charlesworth – 3 x Flower Arcs Apparentt – Esteem Floor Lamp Joslin Koolen – Illuminated Lines Koskela – Ngalya/Together Milligram Studio & One Design Office – Form Nick Rennie – Sway Lamp Ross Gardam – Hemera Desk Lamp Ross Gardam – Nebulae Chandelier Collection Sarah Nedovic – Pieces Zachary Hanna – Trapeze

FURNITURE DESIGN

This category seeks to award one distinctive Australian furniture design project. Individual products and/or product ranges developed within Australia, bespoke pieces, fixed and freestanding furniture designs will be considered in this category.

Judges: Richard Munao (Cult Design and NAU), Adam Goodrum, and Grazia Materia (Grazia & Co).

The Furniture Design award is sponsored by NAU.

Fomu Design – Odie Chair Bern Chandley Furniture – CoCo Armchair Cameron Foggo – Bureau Sofa Daniel Poole – Freshwater Dining Table Dean Norton – Moodlum Softer – Clearer Coffee Table Tom Fereday for King Living – ETO Desk Jardan – Arte Table Range Nick Rennie Studio – Wyrie Table Pop and Scott – The Lou Alto Koskela – Learn Ross Thompson – Gentleman’s Wardobe

TEXTILE DESIGN

This category seeks to award one distinctive Australian textile design project. One-off textile designs, textile collections and textile-based fashion or homewares products will be considered in this category.

Judges: Bonnie Ashley (Bonnie and Neil) and Lisa Gorman (Gorman).

Cassie Byrnes – Tourist Esther Sandler – Togetherness Georgia Cannon – Style Revolutionary Rug Collection Georgina Whigham – Woven Bag Series Julie White & The Ghan – 90th Anniversary Scarf Marta Figueiredo AKA Figgoscope Curates – Prima Familia Totems Natalie Ryan – Meander Designs Belgian Cotton Linen Cushions Rachel Castle – Sweet Pea Bedlinen Range Sophie Matson – Købn Summer Teresa Ceberek for Tsar Carpets – X-Materiality Collection

FLORAL DESIGN

This category seeks to award one outstanding Australian floral design project completed by any practising floral designer, group or organisation. Commercial commissions, including small floral arrangements, larger floral schemes, installations, botanical-based sculptures and art projects will be considered in this category.

Judges: Cherrie Miriklis-Pavlou (Flowers Vasette) and Joost Bakker.

The Floral Design Awards is sponsored by Interflora.

BESS – Wilflower Trolleys Graham Ho Guo Wei – A Study Of Beauty Hattie Molloy – Soil Candy MT – Marigold Motel Meghan Fletcher of Good Grace and Humour – Lotus Leaf Lamp Melanie Stapleton and Katie Marx – Flowering Now Pomp and Splendour – Way Of Flowers

STYLING + ART DIRECTION

This category seeks to award one outstanding Australian styling or art direction project completed by either an individual, group or organisation. A single photograph or photographic series, advertising campaign, editorial project or personal styling project will be considered in this category.

Judges: Glen Proebstel and Megan Morton.

The Styling & Art Direction Award is sponsored by Cult.

Bridget Wald, Alice Huthinson, Ilona Savcenko – Italian Tabletop Fiona Lynch – Workshop Kelly Larkin – Pepite Lucille Ruehland – Bailey Nelson – Titanium Natalie Turnbull – Milou Milou Poliform Australia – Art, Design, Arflex Simone Haag – Art Of Dining Stephanie Stamatis – Real Living Tyrone ‘Rone’ Wright & Carly Spooner – RONE Empire Zarko ‘Jack’ Milenkovic for theMistr.co – Mistr Organics

HANDCRAFTED

This category seeks to award one outstanding Australian handcrafted project, completed by either an individual, group or organisation. A single handcrafted functional, decorative or wearable item, or a handcrafted product range will be considered in this category. Practitioners of any handcrafted discipline are eligible to enter.

Judges: Louse Olsen (Dinosaur Designs), Maree Clarke and Chloë Powell (Craft Victoria).

The Handcrafted Award is sponsored by Jansz Tasmania.

Alicia Van Rhijn – ‘Small Spaces’ – architectural landscapes Asobimasu Clay – Kaiketsu Vase Interia – Texture Kenny Yong-soo Son – The Teapot Project Lynette Sumner – Subterrane Pods Natalie Rosin – Kirribilli Ceramic Tapestry Nicolette Johnson – Dark Tower Tammy Kanat – Serenity 2019 Tantri Mustika – Garnitures ACV Studios – Fold Vases

SUSTAINABLE DESIGN

This category seeks to award one outstanding Australian sustainable design project, completed by either an individual, group or organisation. Any project which is exemplary of sustainable innovation is eligible, including, but not limited to, architectural projects, industrial design projects, functional products, furniture and lighting.

Judges: Jeremy McLeod (Breathe Architecture, Nightingale Housing) and Abigail Forsyth (KeepCup).

The Sustainable Design award is sponsored by Mercedes me.

Better Packaging co. – comPOST Packs Contain Design Studio – Milk In Glass Candice Choma – Eden Cup Beetbox – BeetBox Glass Lunch Bowl Champ Design – Puzzle Placements NRN Architects – Walkerville POD House Seljak Brand – Closed Up Merino Wool Blanket Carter Williamson – GRID Education Sophie Gandar – Milou Milou Seed & Sprout Co. – Fresh Food Storage Bundle Trias – Three Piece house

EMERGING DESIGNER

This category seeks to award one designer, architect, studio or independent creative, working in any creative discipline, who has launched their own professional practice within the last three years.

Judges: Lucy Feagins (The Design Files), Anne-Maree Sargeant (Authentic Design Alliance) and Henry Wilson (Studio Henry Wilson).

The Emerging Designer Award is supported by Phoenix Tapware.

Alichia Van Rhijn (ceramicist) Apparentt (furniture designers) Edition Office (architects) Elliot & Louise Gorham (furniture designers) Studio Edwards (architects) Tantri Mustika (ceramicist) Zachary Hanna (lighting designer)

COLLABORATION

This category seeks to award one collaborative design project, where two or more separate creative practitioners, businesses or entities have come together to create one collaborative product, product range, installation, built structure or other creative project.

Judges: Ken Done, Jeremy Wortsman (The Jacky Winter Group), and Amanda Henderson (Gloss Creative).

Annie Ming, Dara Shashoua & Louise Bastiras (Tsar Carpets) – X-Materiality Cindy-Lee Davies & Dustin Fritsche – NWAY Dale Hardiman & Tom Skeehan, Friends & Associates – Welcome to Wasteland Julian Kosloff, Kosloff Architecture & Callum Morton, Monash Art Projects – 18 Innovation Walk Revitalisation Project MUIR Architecture & Openwork – Doubleground Paige Anderson, Hayley Sparks & Emma Leonard for KIDS Magazine – The Dreamers Thomas Coward & Artedomus – New Volumes Tom Fereday & Earp Bros – OMNI Breeze Block Travis Dean & Charlie Wilde, Cantilever Interiors & Mark Simpson & Damien Mulvihill, Design Office – Tableau Tyrone “Rone” Wright with Carly Spooner, Loose Leaf, Nick Batterham, Kat Snowden, PHORIA, Lester Francois, The Social Crew & Lily Sullivan – Rone Empire.

Winners will be announced in an awards ceremony at Deakin Edge, Federation Square in Melbourne on Thursday, September 19th 2019.

A huge thankyou to our Judges, who are now undertaking the immense task of selecting just one winner in each category, along with a handful of commendations! Thanks, too, to our sponsors – Brickworks, Miele, Cult, NAU, Interflora, Mercedes me, Eco Outdoor, Jansz Tasmania and Phoenix Tapware – for throwing their support behind TDF Design Awards 2019!

You can explore photographs of all the shortlisted projects over on the TDF Awards website. And, stay tuned for in-depth coverage of each category shortlist over the coming weeks – starting with a closer look at at the Residential Architecture shortlist next Monday!

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