Academic literature on the topic 'Cultura Chimú'
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Journal articles on the topic "Cultura Chimú"
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Cossío del Pomar, Felipe. "El arte en el señorío del Chimú." Letras (Lima) 13, no. 37 (September 7, 2020): 185–93. http://dx.doi.org/10.30920/letras.13.37.1.
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Analiza las culturas del norte del paìs bajo una una división en períodos, así sea apoya en una vaga relación cronológica. La Confederación Chimú vendría a ser el último eslabón de culturas de rápido crecimiento tropical y, por consiguiente, de temprana muerte. Su 'epígono cultural estable sería la antigua metrópoli de Chan Chan, capital del "Señorío del Gran Chimú", federación de pueblos del litoral norte del Perú. ChanChan separa la historia del arte propiamente Chimú, del' confuso pasado prehistórico del arte Muchik, Trujillo, Chicama, Cupisnique y otros nom bres derivados de diferentes grados evolutivos de una misma cultura. Destaca en su explicación en la ciudadela de Chan Chan, sus muros, orfebrería Chimú, máscaras entre otros aspectos culturles de esta majestuosa cultura del norte del país
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Leonardini, Nanda. "Gerardo Chávez y el espejo de nuestra cultura." Letras (Lima) 72, no. 101-102 (December 31, 2001): 31–37. http://dx.doi.org/10.30920/letras.72.101-102.2.
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En el departamento de La Libertad, Perú, existe uno de los innumerables territorios milenarios, donde se desarrollan algunas de las tantas civilizaciones de la antigüedad que enriquecen la historia peruana. Allí nacen y mueren culturas como Moche, Sipán, Chimú, reconocidas por un avanzado desarrollo tecnológico que a la fecha pervive a través de una ingeniería hidráulica dueña de una red de canales aptos para trasladar el agua de un valle a otro sorteando todo tipo de obstáculos; de una sofisticada metalurgia capaz de obtener aleaciones como el bronce arsenical para elaborar armas de guerra o la tumbaga (oro, plata y cobre) a fin de crear hermosas joyas; de una imponente arquitectura en adobe tributado para erigir con ellos centros ceremoniales y administrativos decorados con policromados murales o sobre relieves; de una exquisita cerámica bruñida, escultórica, bícroma o monocroma, verdaderos documentos que relatan pasajes históricos, mitológicos, hablan de costumbres, arquitectura, vestimenta, flora y fauna.
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Gómez Sánchez, Javier. "Cultura moche como base de la identidad de un nacionalismo peruano." Revista Latina de Sociología 7, no. 2 (January 14, 2018): 17–30. http://dx.doi.org/10.17979/relaso.2017.7.2.3056.
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Desde la primera mitad del s. XX, el continente americano ha sido testigo del avance del indigenismo. A través de su vertiente cultural y antropológica, el indigenismo se ha ido presentando como una corriente cada vez más consolidada y más capacitada para suplantar en el Perú a los viejos símbolos del nacionalismo. Al mismo tiempo, dada la fuerza simbólica que proyecta la civilización incaica, por su poderío militar y su vasta expansión territorial, inexorablemente se ha ido imponiendo su recuerdo para sustentar el mito que legitima el vínculo entre el Estado peruano y los sentimientos identitarios de sus naciones. Se observa así una instrumentalización cada vez más frecuente de los incas como mito del origen de la alta cultura peruana, tanto en la educación elemental, como en el marketing, en el arte o en la industria del turismo. En el presente artículo analizaremos cómo, si bien la suplantación de los viejos símbolos resultó ser muy eficaz, el resultado de este proceso está siendo discutido por otras construcciones identitarias a través de mitos promovidos por el hallazgo y explotación de ejemplos regionales de alta cultura que pueden remontarse a tiempos anteriores al Tahuantinsuyo. Es el caso de los departamentos de La Libertad y Lambayeque, donde los proyectos arqueológicos en derredor de las culturas moche y chimú están logrando construir un modelo de sustentación identitaria que en distintos escenarios se enfrenta a la idea centralista de elevar las instituciones cusqueñas prehispánicas como el paradigma peruano de su origen.
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Beltrán-Neira, Roberto J. "Perú Centro de Culturas." Revista Estomatológica Herediana 18, no. 1 (September 17, 2014): 3. http://dx.doi.org/10.20453/reh.v18i1.1847.
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Cuando se examina el panorama cultural de América Precolombina, tres son los principales centros de civilización localizados en lo que actualmente son México, Guatemala y Perú.En Sudamérica, el desarrollo cultural estuvo concentrado en lo que hoy es el Perú, lo que lleva a preguntarnos cuáles fueron las condiciones que favorecieron el desarrollo de culturas de tan alto nivel como las de Chavín, Paracas y Huari, por ejemplo.La costa, árida en su mayor parte, con estrechos valles de aguas torrentosas, así como las alturas andinas, un territorio abrupto donde los espacios habitables interandinos se encuentran separados por altas montañas, no son al parecer las mejores condiciones para el fabuloso desarrollo cultural del antiguo Perú.Sin embargo, tanto en la costa como en la sierra y en la ceja de selva se han encontrado restos arqueológicos de comunidades que superaron las dificultades del terreno para hacerse de lugares aptos para la vida y la civilización. Es evidente que los hombres que lograron tales hazañas, incluyendo el desarrollo de las artes y la metalurgia; la domesticación de animales y vegetales; la construcción de sistemas de irrigación y andenería, fueron capaces de generar comunidades con alto grado de organización. La cumbre del desarrollo organizativo se dio en el Imperio de los Incas, que en su momento controló el actual territorio de Perú, Ecuador, Bolivia y parte de Argentina, Colombia y Chile, contando para ello con sus extensas vías de comunicación y un sistema de expansión basado en el principio de reciprocidad.Es interesante constatar cómo, ni la pampa, ni la selva amazónica, ni los climas tropicales del Caribe fueron lugares propicios para la aparición de grandes culturas. El hombre precolombino -que desde hace más de once mil años habitó el actual territorio del Perú- dejó huellas de organizacióninteligente y laboriosidad emprendedora.Las manifestaciones más tempranas que se conocen de la presencia humana en el Perú provienen de Lauricocha, 9,525 a. C.; Cerro Paloma, 6,000 a. C. y Kotosh, 4,200 a. C.El reciente descubrimiento de Caral, al norte de Lima, considerada como la primera ciudad del nuevo continente, tiene una antigüedad comprobada que la ubica en 2,627 a. C. Este descubrimiento ha dado nuevas luces sobre el desarrollo de las culturas que vinieron luego.La sucesión cronológica del desarrollo cultural en el antiguo Perú es como sigue:Chavín, 1,000 a. C.; Paracas, 500 a. C.; Cajamarca, 200 a. C. a 1,300 d. C.; Mochica, 100 a 600 d.C.; Nasca, 100 a 600 d. C.; Tiahuanacu, 200 a 1,000 d. C.; Huari, 700 a 1100 d. C.; Chimú, 1,100 a1,400 d. C.; Chachapoyas, 700 a 1,500 d. C. y la cultura Incaica, entre 1,200 y 1,500 d. C.Son once grandes culturas ubicadas en costa, sierra y selva alta del país. Numerosas formaciones regionales de menor ámbito se agregan a este impresionante panorama cultural.La Facultad de Estomatología de la Universidad Peruana Cayetano Heredia se siente heredera de los valores culturales de su pasado precolombino. Desde su fundación tiene al Perú como el objetivo de su dedicación, poniéndose al servicio de la educación y la salud de sus pueblos.Roberto J. Beltrán La figura del Mapa de las Culturas Precolombinas ha sido preparada en la oficina de Unidad de Recursos Tecnológicos (URT) de la Facultad de Estomatología de la Universidad Peruana Cayetano, tomando como fondo el mapa físico del Perú editado por el Instituto Geográfico Nacional.Reconocimientos:- Al Dr. Carlos Heredia Azerrad por la corrección de estilo- A la Srta. Diana Jave Castillo por la preparación gráfica del Mapa de las Culturas Precolombinas.Nota: Para mayor información sobre cada cultura puede consultar por su nombre en un buscador de Internet.
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Marshall, Michael. "Chimp culture, chimp genes." New Scientist 207, no. 2774 (August 2010): 12. http://dx.doi.org/10.1016/s0262-4079(10)62003-9.
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Valverde-Alva, Miguel A., Jhenry F. Agreda-Delgado, Wilder Aldama-Reyna, Luis M. Angelats-Silva, Guillermo Gayoso-Bazán, Henry León-León, Fredy R. Pérez-Azahuanche, and Santiago A. Vásquez-García. "Morphology, composition and structure of the fibers of a Chimu culture textile." MOMENTO, no. 64 (January 5, 2022): 39–53. http://dx.doi.org/10.15446/mo.n64.97681.
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In this work we studied the microfibers of a textile (T-shirt) of the Chimú culture. This culture developed on the northern coast of Peru. To determine the raw material and structural quality of the microfibers, the results of the Chimú textile were compared with the corresponding results for the microfibers of cotton from the northern coast of Peru (native cotton). Scanning electron microscopy images revealed that the Chimú textile yarns are composed of a set of interwoven microfibers. Energy dispersive X-ray spectroscopy and pulsed laser-induced plasma spectroscopy techniques allowed the identification of characteristic cellulose atoms in the microfibers of Chimú textile and native cotton. Only for the Chimú textile, these spectroscopic techniques allowed the identification of atoms corresponding to natural dyes and powder residues. Attenuated total reflection Fourier transform infrared spectroscopy identified the same molecular bonds for the microfibers of Chimú textile and native cotton. For the microfibers of Chimú textile and native cotton, the X-ray diffractograms showed peaks characteristic of the cellulose Iβ polymorphism of of monoclinic P21 structure. The raw material of the Chimú textile is cotton and the microfibers of this material show significant structural stability.
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Woodruff;, D. S. "Chimp Cultural Diversity." Science 285, no. 5429 (August 6, 1999): 835e—835. http://dx.doi.org/10.1126/science.285.5429.835e.
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Ortloff, Charles R. "Surveying and Hydraulic Engineering of the Pre-Columbian Chimú State: ad 900–1450." Cambridge Archaeological Journal 5, no. 1 (April 1995): 55–74. http://dx.doi.org/10.1017/s0959774300001189.
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The Chimú state of northern coastal Peru (ad 900–1480) developed massive irrigation-based agricultural systems supplied by intricate networks of canals drawing water from river sources in coastal valleys under their political control. Further intervalley canal systems, some up to 50 miles in length, were constructed to shunt water between river valleys to augment intravalley supplies. A high degree of civil engineering skill was necessary to construct and maintain such complex systems; knowledge of surveying and of open channel flow hydraulics was paramount. Some of the technology used by the Chimú has been investigated: surveying instruments and calculating tools have been unearthed and analyzed to provide some understanding of the technical base used for canal design. Details of the hydraulics knowledge-base have been extracted from computer simulation of the functioning of ancient Chimú canal designs. This article assembles known pieces of information related to Chimú civil engineering practice and attempts to provide a plausible methodology that could have been implemented by the Chimú to survey the precise canal bed slopes necessary for proper hydraulic functioning of large canal systems through rugged Andean foothill and mountain areas.
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Wauters, Valentine. "Imperial Needs, Imperial Methods: Chimú Ceramic Manufacturing Process Through CT Scan Analysis of Stirrup-Spout Bottles." Latin American Antiquity 27, no. 2 (June 2016): 238–56. http://dx.doi.org/10.7183/1045-6635.27.2.238.
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The stirrup-spout bottle is one of the most representative forms in the Chimú (A.D. 900-1470) ceramic repertoire. I discuss the ceramic assemblage of this coastal culture and describes more precisely the various manufacturing processes of the stirrup-spout bottle. Although molds used to produce these complex vessels are known today, only little information has been published on the various stages involved in their manufacture. My purpose is to contribute to this research using medical imaging computed tomography (CT) scans of intact stirrup-spout vessels. Based on my findings, I propose that changes in the construction of these vessels correlated with a transition in ceramic production to a semi-industrial level during the time of the Chimú Empire.
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Miller, G. "ANIMAL BEHAVIOR: Tool Study Supports Chimp Culture." Science 309, no. 5739 (August 26, 2005): 1311a. http://dx.doi.org/10.1126/science.309.5739.1311a.
Full textDissertations / Theses on the topic "Cultura Chimú"
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Vilca, Vera Carlos Francisco. "Centro Cultural y Museo de las culturas Moche y Chimú en Trujillo." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2021. http://hdl.handle.net/10757/657365.
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El proyecto se enfoca en analizar los aspectos culturales y sociológicos de la ciudad de Trujillo, y fusionarlos con la arquitectura de Centro Cultural y Museo para elaborar un proyecto arquitectónico que respete las características principales del contexto y se relacione entre ellas.
En la investigación, se encontraron tradiciones culturales de la época incaica en Trujillo que aún siguen practicándose. Sin embargo, la práctica de estas va quedando en el olvido o reducido al punto de solo practicarlo en especificas familias que conservan estas tradiciones. Por lo que realizar un proyecto que albergue, difunda estos aspectos culturales de Trujillo, que armonice con su contexto natural y su cultural, fue el principal objetivo de este trabajo.
Es por ello que, en fusión con el regionalismo crítico, a modo de énfasis, se pudo generar una sinergia entre la arquitectura y cada una de las características propias del lugar. Ya sea por su ubicación, emplazamiento, colores, materiales y técnicas constructivas.
Permitiendo que el proyecto funcione como un foco cultural que alberga las principales actividades culturales de Trujillo, así como promover la difusión de las culturas Moche y Chimú, y principalmente armonizando con su contexto inmediato.
Mediante la exhibición de piezas arqueológicas de ambas culturas, la promoción y difusión de las actividades culturales de la zona se logra con éxito el propósito del proyecto. El cual tiene como finalidad mantener viva las principales culturas de Trujillo, Cultura Moche y Chimú, y que su legado se mantenga vigente con el transcurrir del tiempo.The project focuses on analyzing the cultural and sociological aspects of the city of Trujillo, and merging them with the architecture of the Cultural Center and Museum to develop an architectural project that respects the main characteristics of the context and is related to each other. In the investigation, cultural traditions from the Inca period were found in Trujillo that are still being practiced. However, the practice of these is being forgotten or reduced to the point of only practicing it in specific families that preserve these traditions. Therefore, carrying out a project that shelters, disseminates these cultural aspects of Trujillo, that harmonizes with its natural and cultural context, was the main objective of this work. That is why, in fusion with critical regionalism, by way of emphasis, a synergy could be generated between the architecture and each of the characteristics of the place. Either because of its location, location, colors, materials and construction techniques. Allowing the project to function as a cultural focus that houses the main cultural activities of Trujillo, as well as promoting the diffusion of the Moche and Chimú cultures, and mainly harmonizing with its immediate context. Through the exhibition of archaeological pieces from both cultures, the promotion and dissemination of the cultural activities of the area, the purpose of the project is successfully achieved. The purpose of which is to keep alive the main cultures of Trujillo, the Moche and Chimú culture, and that their legacy remains in force over time.
Tesis
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Méndez, Chumpitazi Luis Alonso. "Centro de Interpretación en Chan Chan." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2018. http://hdl.handle.net/10757/624701.
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La cultura Chimú es muy diferente al resto de culturas pre-incas. Mientras la mayoría de ellas adoraban al sol, los chimúes ponían especial énfasis en las estrellas y la luna. En base a ellas edificaron su cosmología, su orden social y su arquitectura, sin embargo no existen referencias a ello ni en la zona arqueológica, ni en el museo local. Un proyecto que permita mantener viva la cultura local y aumentar el entendimiento de la cultura Chimú sin competir con el museo ya existente se entiende necesario. Teniendo en cuenta todas estas variables un Centro de Interpretación es la mejor respuesta.Chimor culture is very different from the rest of pre-Inca cultures. While most of them worshiped the sun, the Chimor placed special emphasis on the stars and the moon. They built their cosmology, their social order and their architecture based on them, however there are no references to it neither in the archaeological zone nor in the local museum. A project that allows keeping the local culture alive and increasing the understanding of the Chimor culture without competing with the existing museum is necessary. Taking into account all these factors, an Interpretation Center is the best answer.
Tesis
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Cerdán, Lobato Kleyson Oswaldo. "Vida en la frontera: Asentamientos rurales en el norte del cerro San Ildefonso, valle bajo de Jequetepeque, durante el Periodo Intermedio Tardío." Bachelor's thesis, Universidad Nacional Mayor de San Marcos, 2021. https://hdl.handle.net/20.500.12672/17215.
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El presente estudio abarca la problemática de los asentamientos rurales chimú durante
el Intermedio Tardío en el valle bajo del Jequetepeque, a través del análisis de su
arquitectura y funcionalidad. El área de estudio pertenece a la cuenca del río Chamán,
zona en la que se han reconocido algunos asentamientos de gran importancia como San
Ildefonso, San José de Moro, etc. Prospecciones realizadas en el marco de este trabajo
lograron identificar nuevos sitios y caracterizar mejor otros, como el caso del sitio de
estudio, Las Tinajas, sitio periférico a San Ildefonso, en el que se logró registrar
arquitectura en regular estado de conservación con abundante presencia de material
cultural en superficie (sobre todo cerámica). Las evidencias registradas en campo, así
como el levantamiento arquitectónico del asentamiento, nos permiten caracterizar un tipo
de sitio de carácter rural, con presencia de cerámica Chimú e indicadores que sugieren un
uso doméstico durante la fase Chimú Tardía del periodo Intermedio Tardío.
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Castañeda, Murga José Juan. "La ocupación indígena de la traza urbana de la ciudad de Trujillo, 1534 - 1619." Master's thesis, Pontificia Universidad Católica del Perú, 2019. http://hdl.handle.net/20.500.12404/15629.
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Esta tesis trata como los indígenas llegaron a ocupar el espacio de la traza urbana de la ciudad
de Trujillo desde su fundación hasta 1619, año en que ocurrió el terremoto de San Valentín.
Se explica las causas por las que Diego de Almagro escogió el valle de Chimo para la
fundación de una nueva ciudad, para ello se investiga en los antecedentes geopolíticos del
reino Chimor, de la conquista y ocupación inka, la abundancia de huacas -indicador de
tesoros- en el paisaje y la necesidad de contar con indígenas aliados en caso de una guerra.
Siguiendo un patrón que venía desde la reconquista, Trujillo es fundado sobre un centro
administrativo inka y organizado espacialmente, siguiendo un patrón en damero en torno a
una plaza y con las instituciones del poder a su alrededor. Los solares que se repartieron a
los primeros vecinos eran enormes y seguían un patrón urbanístico que alcanzó gran
desarrollo en América, dando paso a una arquitectura que incluyó elementos constructivos
locales. En cuanto a la ciudad, se estudia su organización espacial: la plaza mayor, las calles
y casas, destacando la ubicación de sus principales edificios. Finalmente se estudia a los
indígenas urbanos, indicando de donde procedían y a que se dedicaban, resaltando también
la ausencia de barrios indígenas fuera de la traza y su cultura material, evidenciando el
surgimiento de una nueva cultura indígena urbana que incorporaba elementos tanto nativos
como occidentales.Tesis
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Lima, Silvia Cunha. "Tecnologia cerâmica chimu: estudo arqueométrico da coleção do MAE/USP." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/71/71131/tde-05112010-101643/.
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Existe um amplo debate sobre as influências culturais remotas nos Andes e o surgimento da cerâmica nesses contextos. Nosso estudo não pretende retroceder aos períodos Formativo ou Cerâmico Inicial, mas apenas situar a coleção de cerâmica chimu do MAE/USP em relação ao debate atual sobre as relações de continuidade ou descontinuidade na costa norte peruana, através do estudo da tecnologia de produção cerâmica. O sistema tecnológico que caracteriza essa produção geralmente aparece na bibliografia com ênfase nas características de moldagem de seus artefatos e a vasta produção cerâmica desse período raramente é estudada a partir de sua variabilidade tecnológica. Este estudo busca enxergar possíveis diferenças tecnológicas que possam existir por trás dessa mensagem de unicidade e homogeneidade, explícita na cerâmica chimu, e investigar a respeito do significado das escolhas tecnológicas que caracterizam esse processo. A escolha de uma coleção de peças inteiras, de um estilo cerâmico monocromático, coletadas provavelmente aleatoriamente e carente de informação contextual impôs a necessidade de pensarmos numa metodologia diferenciada para a investigação das escolhas tecnológicas. A combinação da análise macroscópica de aspectos morfológicos e iconográficos, com a investigação sistemática através de técnicas físico-químicas não destrutivas permitiu o aprofundamento no conhecimento da tecnologia e especificidades do processo de produção dos artefatos, ao fornecer dados que foram fundamentais para inferências dos aspectos culturais das escolhas tecnológicas associadas a essa coleção.There is a wide debate on the remote Andes cultural influences and the appearance of ceramics in these contexts. Our study does not intend to go back to Formative periods, but only to retrieve the collection of Chimu pottery MAE / USP with respect to the current debate regarding the relative continuity or discontinuity in Peru\'s northern coast, through the study of ceramic production technology. The technological system that characterizes this production usually appears in the literature with emphasis on the characteristics of molding and the vast production and ceramic artifacts from this period is rarely studied from its technological variability. This study aims to see the future technological differences that may exist behind this message of unity and homogeneity, explicit in Chimu ceramics, and inquiring into the meaning of technology choices that characterize this process. The choice of a collection of whole pieces of a ceramic style monochrome, probably collected at random and lacking in contextual information imposed the need to devise a methodology for the investigation of different technology choices. The combination of macroscopic analysis of morphological and iconographic, with the systematic investigation by physico-chemical techniques non destructive has allowed the depth knowledge of technology and the particularities of the production of the artifacts, to provide data that were fundamental to infer cultural aspects of technology choices associated with this collection.
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Tigre, Laís Alcântara. "Manufatura de tapeçarias andinas: culturas pré-colombianas - Mochicas e Chimús." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/100/100133/tde-26112018-112605/.
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A tapeçaria é uma das formas mais antigas de tecelagem. Esse tipo de tecido possibilita a criação de imagens complexas e suas técnicas e origem são um grande mistério na história geral. A produção têxtil no Peru vem de por volta de 8000 anos a. C. e ao longo da história da região, diferentes culturas desenvolveram a tecnologia têxtil até a chegar à tecnologia manual que temos hoje. As culturas Moche e Chimú viveram na costa norte peruana e desenvolveram técnicas de tecelagem, dentre elas a tapeçaria, que são realizadas até hoje no país, com desenhos antigos e desenhos novos. Os objetivos deste estudo foram: investigar a manufatura de tapeçarias dos séculos XIII à XVI no Peru, distinguindo entre as culturas Mochica e Chimú; demonstrar como a tecnologia manual da produção têxtil, foi empregada nas artes têxteis de Elena Izcue e nas tapeçarias de Maximo Laura, mostrando uma continuidade do povo peruano em usar a mesma temática de seus ancestrais e demonstrar como as técnicas ancestrais são usadas hoje para manter comunidades que permanecem utilizando elementos culturais tradicionais e como eles utilizam a manufatura para permanecer com uma identidade cultural e agregar valor aos têxteis produzidos no Peru. Foi realizada uma pesquisa documental e visitas de campo nos sítios arqueológicos e eventos utilizados para manter as técnicas ancestrais ativas. A revisão bibliográfica gerou uma discussão que possibilitou a comparação entre as duas culturas, que apesar de semelhantes em seus desenhos tinham diferenças nas técnicas para produção têxtil, a comparação de Elena Izcue e Maximo Laura no uso dos motivos pré-colombianos em suas obras e a demonstração, através de teóricos clássicos dos estudos culturais, de que as técnicas tradicionais de manufatura têxtil são uma forma de identidade cultural. Foi possível concluir que as atividades tradicionais são uma forma de manter o modo de vida dos povos que vivem em comunidades interioranas e que ainda hoje preservam os rituais e tradições de seus antepassados; que a identidade cultura peruana está atrelada a atividade de produção têxtil manualTapestry is one of the oldest forms of weaving. This type of fabric enables the creation of complex images. Their techniques, and origin, are a great mystery in general history. The textile production in Peru comes from around 8000 years a. C. and throughout the history of the region, different cultures have developed the textile technology until the manual technology that we have today. The Moche and Chimú cultures lived on the northern Peruvian coast and developed weaving techniques, among them tapestry, which are held until today in the country, with old designs and new designs. The objectives of this study were: to investigate the manufacture of tapestries from the 13th to 16th centuries in Peru, distinguishing between the Mochica and Chimú culture; demonstrate how the manual technology of textile production was used in the textile arts of Elena Izcue and in the tapestries of Maximo Laura, showing a continuity of the Peruvian people in using the same theme of their ancestors and demonstrating how the ancestral techniques are used today to maintain communities who remain using traditional cultural elements and how they use manufacturing to remain with a cultural identity and add value to the textiles produced in Peru. Documentary research and field visits were carried out at the archaeological sites and events used to keep the ancestral techniques active. The literature review generated a discussion that allowed the comparison between the two cultures, which although similar in their drawings had differences in techniques for textile production, the comparison of Elena Izcue and Maximo Laura in the use of pre-Columbian motifs in their works and the demonstration, through classical cultural studies theorists, that traditional textile manufacturing techniques are a form of cultural identity. It was possible to conclude that traditional activities are a way of maintaining the way of life of the peoples who live in interior communities and who still today preserve the rituals and traditions of their ancestors; that the Peruvian identity is linked to the activity of manual textile production
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Castillo, Narrea Luís Enrique Jesús Alberto. "Conservación y Restauración de algunos objetos Arqueológicos: Arte, Técnica y Metalurgia. Procedentes de tres sociedades contemporáneas: Sicán, Chimú y Chiribaya." Tesis, Universidad de Chile, 2008. http://repositorio.uchile.cl/handle/2250/101427.
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Joseph, Edith Michelle Maryse <1977>. "Application of FTIR microscopy to cultural heritage materials." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2009. http://amsdottorato.unibo.it/1404/.
Full textAbstract:
Research in art conservation has been developed from the early 1950s, giving a significant contribution to the conservation-restoration of cultural heritage artefacts. In fact, only through a profound knowledge about the nature and conditions of constituent materials, suitable decisions on the conservation and restoration measures can thus be adopted and preservation practices enhanced. The study of ancient artworks is particularly challenging as they can be considered as heterogeneous and multilayered systems where numerous interactions between the different components as well as degradation and ageing phenomena take place. However, difficulties to physically separate the different layers due to their thickness (1-200 µm) can result in the inaccurate attribution of the identified compounds to a specific layer. Therefore, details can only be analysed when the sample preparation method leaves the layer structure intact, as for example the preparation of embedding cross sections in synthetic resins. Hence, spatially resolved analytical techniques are required not only to exactly characterize the nature of the compounds but also to obtain precise chemical and physical information about ongoing changes. This thesis focuses on the application of FTIR microspectroscopic techniques for cultural heritage materials. The first section is aimed at introducing the use of FTIR microscopy in conservation science with a particular attention to the sampling criteria and sample preparation methods. The second section is aimed at evaluating and validating the use of different FTIR microscopic analytical methods applied to the study of different art conservation issues which may be encountered dealing with cultural heritage artefacts: the characterisation of the artistic execution technique (chapter II-1), the studies on degradation phenomena (chapter II-2) and finally the evaluation of protective treatments (chapter II-3). The third and last section is divided into three chapters which underline recent developments in FTIR spectroscopy for the characterisation of paint cross sections and in particular thin organic layers: a newly developed preparation method with embedding systems in infrared transparent salts (chapter III-1), the new opportunities offered by macro-ATR imaging spectroscopy (chapter III-2) and the possibilities achieved with the different FTIR microspectroscopic techniques nowadays available (chapter III-3).
In chapter II-1, FTIR microspectroscopy as molecular analysis, is presented in an integrated approach with other analytical techniques. The proposed sequence is optimized in function of the limited quantity of sample available and this methodology permits to identify the painting materials and characterise the adopted execution technique and state of conservation. Chapter II-2 describes the characterisation of the degradation products with FTIR microscopy since the investigation on the ageing processes encountered in old artefacts represents one of the most important issues in conservation research. Metal carboxylates resulting from the interaction between pigments and binding media are characterized using synthesised metal palmitates and their production is detected on copper-, zinc-, manganese- and lead- (associated with lead carbonate) based pigments dispersed either in oil or egg tempera. Moreover, significant effects seem to be obtained with iron and cobalt (acceleration of the triglycerides hydrolysis). For the first time on sienna and umber paints, manganese carboxylates are also observed. Finally in chapter II-3, FTIR microscopy is combined with further elemental analyses to characterise and estimate the performances and stability of newly developed treatments, which should better fit conservation-restoration problems.
In the second part, in chapter III-1, an innovative embedding system in potassium bromide is reported focusing on the characterisation and localisation of organic substances in cross sections. Not only the identification but also the distribution of proteinaceous, lipidic or resinaceous materials, are evidenced directly on different paint cross sections, especially in thin layers of the order of 10 µm. Chapter III-2 describes the use of a conventional diamond ATR accessory coupled with a focal plane array to obtain chemical images of multi-layered paint cross sections. A rapid and simple identification of the different compounds is achieved without the use of any infrared microscope objectives. Finally, the latest FTIR techniques available are highlighted in chapter III-3 in a comparative study for the characterisation of paint cross sections. Results in terms of spatial resolution, data quality and chemical information obtained are presented and in particular, a new FTIR microscope equipped with a linear array detector, which permits reducing the spatial resolution limit to approximately 5 µm, provides very promising results and may represent a good alternative to either mapping or imaging systems.
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Kendix, Elsebeth Langholz <1972>. "Trasmission and Reflection (ATR)Far-Infrared Spectroscopy Applied in the Analysis of Cultural Heritage Materials." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2009. http://amsdottorato.unibo.it/2266/.
Full textAbstract:
FIR spectroscopy is an alternative way of collecting spectra of many inorganic pigments
and corrosion products found on art objects, which is not normally observed in the MIR region.
Most FIR spectra are traditionally collected in transmission mode but as a real novelty it is now
also possible to record FIR spectra in ATR (Attenuated Total Reflectance) mode. In FIR
transmission we employ polyethylene (PE) for preparation of pellets by embedding the sample
in PE. Unfortunately, the preparation requires heating of the PE in order to produces at
transparent pellet. This will affect compounds with low melting points, especially those with
structurally incorporated water. Another option in FIR transmission is the use of thin films. We
test the use of polyethylene thin film (PETF), both commercial and laboratory-made PETF.
ATR collection of samples is possible in both the MIR and FIR region on solid, powdery or
liquid samples. Changing from the MIR to the FIR region is easy as it simply requires the
change of detector and beamsplitter (which can be performed within a few minutes). No
preparation of the sample is necessary, which is a huge advantage over the PE transmission
method. The most obvious difference, when comparing transmission with ATR, is the
distortion of band shape (which appears asymmetrical in the lower wavenumber region) and
intensity differences. However, the biggest difference can be the shift of strong absorbing bands
moving to lower wavenumbers in ATR mode. The sometimes huge band shift necessitates the
collection of standard library spectra in both FIR transmission and ATR modes, provided these
two methods of collecting are to be employed for analyses of unknown samples. Standard
samples of 150 pigment and corrosion compounds are thus collected in both FIR transmission
and ATR mode in order to build up a digital library of spectra for comparison with unknown
samples. XRD, XRF and Raman spectroscopy assists us in confirming the purity or impurity of
our standard samples. 24 didactic test tables, with known pigment and binder painted on the
surface of a limestone tablet, are used for testing the established library and different ways of
collecting in ATR and transmission mode. In ATR, micro samples are scratched from the
surface and examined in both the MIR and FIR region. Additionally, direct surface contact of
the didactic tablets with the ATR crystal are tested together with water enhanced surface
contact. In FIR transmission we compare the powder from our test tablet on the laboratory
PETF and embedded in PE. We also compare the PE pellets collected using a 4x beam
condenser, focusing the IR beam area from 8 mm to 2 mm. A few samples collected from a
mural painting in a Nepalese temple, corrosion products collected from archaeological Chinese
bronze objects and samples from a mural paintings in an Italian abbey, are examined by ATR
or transmission spectroscopy.
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Bonacini, Irene <1984>. "Development of new analytical procedures aimet at the characterization of artistic samples." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2015. http://amsdottorato.unibo.it/7083/.
Full textAbstract:
In this thesis, new advances in the development of spectroscopic based methods for the characterization of heritage materials have been achieved.
As concern FTIR spectroscopy new approaches aimed at exploiting near and far IR region for the characterization of inorganic or organic materials have been tested. Paint cross-section have been analysed by FTIR spectroscopy in the NIR range and an “ad hoc” chemometric approach has been developed for the elaboration of hyperspectral maps. Moreover, a new method for the characterization of calcite based on the use of grinding curves has been set up both in MIR and in FAR region. Indeed, calcite is a material widely applied in cultural heritage, and this spectroscopic approach is an efficient and rapid tool to distinguish between different calcite samples.
Different enhanced vibrational techniques for the characterisation of dyed fibres have been tested. First a SEIRA (Surface Enhanced Infra-Red Absorption) protocol has been optimised allowing the analysis of colorant micro-extracts thanks to the enhancement produced by the addition of gold nanoparticles. These preliminary studies permitted to identify a new enhanced FTIR method, named ATR/RAIRS, which allowed to reach lower detection limits. Regarding Raman microscopy, the research followed two lines, which have in common the aim of avoiding the use of colloidal solutions. AgI based supports obtained after deposition on a gold-coated glass slides have been developed and tested spotting colorant solutions. A SERS spectrum can be obtained thanks to the photoreduction, which the laser may induce on the silver salt. Moreover, these supports can be used for the TLC separation of a mixture of colorants and the analyses by means of both Raman/SERS and ATR-RAIRS can be successfully reached. Finally, a photoreduction method for the “on fiber” analysis of colorant without the need of any extraction have been optimised.
Books on the topic "Cultura Chimú"
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Falkenhausen, Lothar Von. Suspended music: Chime bells in the culture of Bronze AgeChina. Berkeley: University of California Press, 1993.
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Suspended music: Chime-bells in the culture of Bronze Age China. Berkeley: University of California Press, 1993.
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Paysage socioculturel et architecture dans la culture Chimú: L'implantation humaine à l'intermédiaire recent (1000-1470 apr. J.-C.) dans la vallée de Chicama (côte nord du Pérou). Oxford, England: Archaeopress, 2015.
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Krakowie, Muzeum Archeologiczne w., Polska Akademia Umiejętności, and Union académique internationale, eds. Peruvian pottery from the collection of the Archaeological Museum in Cracow. Kraków: Académie Polonaise des Sciences et des Lettres, 1998.
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Banco de Crédito del Perú., ed. Culturas precolombinas. 2nd ed. Lima, Perú: Banco de Crédito del Perú, 1991.
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Banco de Crédito del Perú., ed. Culturas precolombinas. Lima, Perú: Banco de Crédito del Perú, 1988.
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Falkenhausen, Lothar von. Suspended Music: Chime-Bells in the Culture of Bronze Age China. University of California Press, 1994.
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Falkenhausen, Lothar von. Suspended Music: Chime-Bells in the Culture of Bronze Age China. University of California Press, 1994.
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Cultural Landscapes In The Ancient Andes: Archaeologies Of Place. University Press of Florida, 2005.
Find full textBook chapters on the topic "Cultura Chimú"
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Swann, Karen. "Introduction." In Lives of the Dead Poets, 1–28. Fordham University Press, 2019. http://dx.doi.org/10.5422/fordham/9780823284184.003.0001.
Full textAbstract:
This chapter lays out the book’s terrain and argument. It proposes that the figures of Keats, Shelley, and Coleridge, as they emerge in contemporary reminiscences, are allegorical in Walter Benjamin’s sense of the term: they speak to the survival of the poet as an attenuated figure in a modern commercial culture. Biographical fascination arises when these biographical figurations of the poet, which circulate with the poetic remains, chime with the figural strategies of the poetry itself. Often described as sentimental, biographical fascination in fact registers pathos, the emotion attendant upon the sacrifice of singular life to the regimes of the aesthetic and of the commodity.
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Clément, Camille. "L’eau : une ressource cruciale pour la culture Chimú dans la vallée de Chicama (côte nord du Pérou)." In Matières premières et gestion des ressources, 57–75. Éditions de la Sorbonne, 2014. http://dx.doi.org/10.4000/books.psorbonne.5033.
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Ortloff, Charles R. "Hydraulic Engineering and Water Management Strategies ofAncient Societies." In Water Engineering in the Ancient World. Oxford University Press, 2009. http://dx.doi.org/10.1093/oso/9780199239092.003.0007.
Full textAbstract:
Societies of widely different social, economic, political, religious, and technical innovation characteristics in opposing world hemispheres developed urban and rural population centres with water and agricultural systems to maintain stable economies and expanding populations. Despite vast historical, cultural, and world view differences between these societies, one common thread united them: the necessity for mastery of engineering skills to provide water for cities and agricultural systems. Although it may be thought that the technical basis to support water engineering practice is accompanied with pre-scientific concepts, many recent discoveries reveal the contrary: sophistication in the concept, design, and execution of water supply and distribution systems indicating knowledge of hydraulic principles beyond the scant hydraulics literature that survived the centuries. In the absence of ancient treatises on hydraulics practices, archaeological analysis of hydraulics works coupled with modern analysis methods provides a way to understand their technological accomplishments through ‘reverse engineering’ methodologies involving computer modelling techniques. Thus computer methodologies play a role to uncover the design intent, functionality, and operation of ancient water systems to provide insight into ancient engineering practices and their theoretical/empirical basis. In South American archaeology, the large variation in ecological conditions and landscape barriers provided the stage for the rise of civilizations and largely determined their agricultural practices. As an example, the Chimú civilization (800–1480 CE) occupied Peruvian coastal regions extending 500 km from the southern Chillon Valley to the northern Lambeyeque Valley. The desert coastal zone extends only a few kilometres inland from the Pacific Ocean before being bounded by the Cordillera Negra mountain chain. Agriculture was possible in coastal alluvial valleys through networks of canal systems originating from intermittent seasonal rivers. The temperature near the equator is near constant throughout the year while coastal rainfall averages about 2mm/year; occasional massive El Niño events which can deposit up to 150cm of rainfall in a few days occasionally break this pattern and cause extensive flooding and Weld erosion. Clearly, hydraulic practices related to the control of limited (and sometime excessive) water resources were vital for survival. Defensive measures to protect fill aqueduct structures against excessive El Niño rainfall and flooding events are expected to appear in the technology base as flood control was vital to sustainability.
Conference papers on the topic "Cultura Chimú"
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Sanchez, Isidro Moreno, Borja Barinaga, Gonzalo Martin, Andres Gutierrez, Victoria E. Contreras R., and Andres A. Navarro-Newball. "Archaeological simulation to explore the Chimú culture from Peru." In 2019 International Conference on Virtual Reality and Visualization (ICVRV). IEEE, 2019. http://dx.doi.org/10.1109/icvrv47840.2019.00063.
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YAN, YANLAI, LINGDA KONG, and HUAHAN LIANG. "PHYSICS IN ANCIENT CHINESE CHIME-BELLS." In Proceedings of the International Conference on Physics Education in Cultural Contexts. WORLD SCIENTIFIC, 2004. http://dx.doi.org/10.1142/9789812702890_0006.
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