Totem symbols in decorative traditions of the peoples of pre-Columbian America: conflict or harmony?

2020 ◽  
pp. 1-12
Author(s):  
Boris Vasilievich Kabylinskii
Keyword(s):  
New York ◽  
Natural History ◽  
Mexico City ◽  
National Museum ◽  
Metropolitan Museum ◽  
The Public ◽  
Metropolitan Museum Of Art ◽  
Art Objects ◽  
Fundamental Research ◽  
The Subject

The object of this research is a totem symbol in decorative tradition of the peoples of pre-Columbian America. The subject of this research is the images of jaguar in the art of the Aztecs of Mesoamerica. The images of a human and jaguar are captured on the metal, stone and clay artifacts of pre-Columbian civilizations that are available to the public in Mexico City National Museum of Anthropology, Peruvian Museum of the Nation in Lima, Metropolitan Museum of Art in New York, and Smithsonian National Museum of Natural History in Washington, D. C. The research methodology is based on compilation of the results of fundamental research of the leading scholars of North American School of Anthropology. The article conduct a general systematization and brief analytics of scientific records on the specificity of Mesoamerican decorative tradition of totem symbols throughout an extensive period of time: 1500 BC – 400 AD (Olmec Civilization), III century BC – VII century AD (Teotihuacan Civilization), 900 BC – 200 AD (Chavín Civilization), 750 BC – 100 AD (Paracas Civilization), 2300 – 1200 BC (Kotosh Civilization), 1250 – 1470 AD (Chimú Civilization). The presented materials substantiate the thesis that jaguar as a totem symbol carried out the functions of unification and identification of ethnoses of Mesoamerica, reflecting relevant sociocultural trends at various stages of anthropogenesis. The novelty of this work consists in scientific systematization of the facts that the nuances of fusion of the images of human and jaguar in art objects of Aztec culture reflect a harmonious or turbulent frame of mind in pre-Columbian era.

The Greek Kitchen: Addenda

1965 ◽  
Vol 85 ◽  
pp. 162-163 ◽  
Author(s):  
B. A. Sparkes
Keyword(s):  
New York ◽  
Rhode Island ◽  
National Museum ◽  
Metropolitan Museum ◽  
Fresh Material ◽  
The Subject ◽  
Rare Books ◽  
Brooklyn Museum

Since the publication of ‘The Greek Kitchen’ inJHSlxxxii (1962) 121–137, fresh material for the Appendix (pp. 132–137) has come to light, mainly in the shape of terracottas which were unknown to me at the time, and I take this opportunity of correcting and adding to the original list. A number of pieces listed below were brought to my notice by Dietrich von Bothmer, of the Metropolitan Museum, New York (nos. 14, 15A, 30A, 33A, 33B), with whom I had two valuable discussions; for knowledge of no. 53B, I am indebted to Mademoiselle V. Verhoogen, of the Musées d'Art et Histoire, Brussels. Others to whom I am indebted for information and help with photographs, are: Madame Lilly Ginouvès, of the Louvre; Miss Elaine Loeffler, of the Museum of Art, Rhode Island School of Design, Providence; Signorina Paola Pelagatti, of the National Museum, Syracuse; Jean Balty, of the Brussels Museum; Bernard von Bothmer, of the Brooklyn Museum; P. Devambez, of the Louvre; R. Noll, of the Kunsthistorisches Museum, Vienna; A. Oliver, of the Metropolitan Museum, New York; N. Raumschüssel, of the Staatliche Kunstsammlungen, Dresden. Miss Alison Frantz took the photographs of nos. 45 and 74, here plate XXIX.2, for which many thanks are given, Mrs A. D. Ure was assiduous in lending rare books, and Miss Lucy Talcott made valuable suggestions on the subject of the Vienna lekythos.

scholarly journals Oro

2007 ◽  
Author(s):  
Luca Bindi
Keyword(s):  
New York ◽  
Natural History ◽  
San Francisco ◽  
Metropolitan Museum ◽  
American Museum ◽  
Metropolitan Museum Of Art ◽  
The City

La parola "oro" ha influenzato l'immaginazione dei vari popoli nel corso dei secoli e la ricerca dell'oro è stato un qualcosa di estremamente affascinante per una gran moltitudine di società nel passato. In questa pubblicazione, che fa parte della collana "Le perline del Museo" del Museo di Storia Naturale dell'Università di Firenze, il concetto di "oro" viene sviscerato in diversi modi. Il libro è diviso in 11 capitoli che trattano dell'oro sotto vari punti di vista: le sue proprietà chimico-fisiche, come e dove può essere trovato in natura, la mineralogia dell'oro, i processi per estrarlo, che cosa può essere fatto con l'oro, l'oro nel corso dei secoli, fino ad arrivare ad una breve descrizione della "corsa all'oro" californiana di fine ottocento. La pubblicazione è ricca di splendide immagini dell'oro in tutte le sue forme. Per la realizzazione della pubblicazione l'autore ha collaborato con lo American Museum of Natural History (New York, U.S.A.), il Museum of the City of San Francisco (San Francisco, U.S.A.) e con il Metropolitan Museum of Art (New York, U.S.A.).

scholarly journals Instagram as Digital Communication Tool for the Museums: a Reflection on Prospectives and Opportunities through the Analysis of the Profiles of Louvre Museum and Metropolitan Museum of New York

2019 ◽  
Vol 6 (3) ◽  
pp. 53
Author(s):  
Michela Zingone
Keyword(s):  
New York ◽  
Daily Activity ◽  
Communication Channel ◽  
Digital Communication ◽  
Metropolitan Museum ◽  
Communication Tool ◽  
Communication Plan ◽  
The Public ◽  
Metropolitan Museum Of Art ◽  
Louvre Museum

Launched in October 2010, Instagram is nowadays one of the most used social networks. According to the latest data released by the platform in 2018, in fact, the number of active users exceeded one million. From the public to the private sector, several actors have integrated Instagram into their communication plan. Among them, there are also the museum institutions. The object of this article is to look at what types of contents museums usually share and to understand how they are using this innovative communication channel based essentially on images to document, communicate their daily activity, their identity, and get in touch with users. Through the method of the content analysis, we propose a qualitative analysis of the posts published in a period of 30 days on the official profiles of the Louvre Museum in Paris and the Metropolitan Museum of Art in New York.

scholarly journals Repatriation of Cultural Property–Who Owns the Past? An Introduction to Approaches and to Selected Statutory Instruments

2010 ◽  
Vol 38 (2) ◽  
pp. 185-200 ◽  
Author(s):  
Carol A. Roehrenbeck
Keyword(s):  
New York ◽  
New York City ◽  
Los Angeles ◽  
Cultural Property ◽  
Metropolitan Museum ◽  
Public Television ◽  
The Public ◽  
Metropolitan Museum Of Art ◽  
The Past ◽  
The Press

Should cultural property taken by a stronger power or nation remain with that country or should it be returned to the place where it was created? Since the 1990s this question has received growing attention from the press, the public and the international legal community. For example, prestigious institutions such as the J. Paul Getty Museum of Art in Los Angeles and the Metropolitan Museum of Art in New York have agreed to return looted or stolen artwork or antiquities. British smuggler Jonathan Tokeley-Parry was convicted and served three years in prison for his role in removing as many as 2,000 antiquities from Egypt. Getty director Marion True defended herself against charges that she knowingly bought antiquities that had been illegally excavated from Italy and Greece. New books on the issue of repatriation of art and antiquities have captured the attention of the public. A documentary based on one of these books was shown in theaters and aired on public television. The first international academic symposium on the topic was convened in New York City in January 1995.

Developing NYARC: the New York Art Resources Consortium

2011 ◽  
Vol 36 (3) ◽  
pp. 25-30
Author(s):  
Stephen Bury
Keyword(s):  
New York ◽  
Modern Art ◽  
Museum Of Modern Art ◽  
Metropolitan Museum ◽  
The Public ◽  
Metropolitan Museum Of Art ◽  
History Of ◽  
Brooklyn Museum

NYARC is a consortium of New York art resources, initially including the libraries of Brooklyn Museum, the Frick Collection, Metropolitan Museum of Art and the Museum of Modern Art. The Metropolitan was not part of the Arcade (integrated libraries system) programme funded by the Andrew W. Mellon Foundation, and withdrew its designation as a NYARC entity in December 2010. This article gives a brief history of NYARC and examines whether it achieved its aims of sharing resources, making them more accessible to the public, and saving money.

On white marble half-lotus meditation statues carved in Wuding Era of the Eastern Wei Dynasty

2019 ◽  
Vol 19 (1) ◽  
pp. 182-194
Author(s):  
Hyun-Sook So
Keyword(s):  
New York ◽  
Comparative Study ◽  
Metropolitan Museum ◽  
White Marble ◽  
City Area ◽  
Metropolitan Museum Of Art ◽  
Right Hand ◽  
Second Year ◽  
Made In ◽  
Wei Dynasty

Abstract In 2012, large amounts of white marble Buddhist statues of the Eastern Wei and Northern Qi Dynasties were unearthed from the Buddhist sculpture hoard at Bei Wuzhuang in Ye City Site. This paper makes a comparative study on a bodhisattva statue in meditation seated in half-lotus posture (resting right ankle on the knee of pendent left leg and holding right hand upward) among them and another sculpture of the same type and made in the same period unearthed at the Xiude Monastery site in Dingzhou; from the double-tree, stupa and coiling dragon designs shown by them, this paper explores the commonalities and differences of the Buddhist arts in these two areas. Moreover, this paper reveals that this motif emerged earlier in the Ye City area than in the Dingzhou area, and diffused to the latter after it became popular in the Ye City area. By these conclusions, this paper infers that the white marble meditating statue seated in half-lotus position with the date of the second year of Wuding Era (544 CE) in the collection of the Metropolitan Museum of Art in New York, USA was produced in Ye City area.

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