Friday, October 26, 2007

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CHIMU


ORIGIN AND EXTENSION Surge
the decline of the Wari Empire, stretched from Tumbes to Carabaillo and covered the valleys of Moche, Chicama, Lambayeque, Pativilca Paramonga knew and Chancay.
As to the origin, the legend that their king was Tacaynamo founder, who arrived by the sea in a large pond and began construction of the great city of Chan Chan , Trujillo (La Libertad).

SOCIO-POLITICAL
The Chimu were an expansionist state centralized with clear divisions of class, inheritance of objections and a complex bureaucracy, the power was held by the great ruler named CHIMOCAPAC or CIEQUICH and Alaec, still a group with a certain prestige and economic power called Fixlla or Pillac and end were peasants, artisans and servants. This organization is Moche heritage.
economic and social system functioned through a network of rural towns that were responsible for receiving and send the taxes collected capital. The state was administered in the capital city, Chan Chan, thence management, organized and monopolized the production, storage, redistribution and consumption of goods and products.


WORSHIP
The main cult was dedicated to the moon because of its influence on plant growth, the tides and its use as a marker of time, however, each town must have their deities and local shrines. Further emphasizes the permanence of the cult of the god Sican Naylamp . The architecture has helped define the rulers lived in palaces and monumental enclosures, while the people lived in thatch houses with small rooms and outside the monumental architecture.


Chimu economy Chimu economy was characterized by the exploitation of the conquered places that pay for food, crafts, work, etc.. Forced labor specialization operation of a bartering system which allowed to obtain the products and objects that everyone did not produce. The main worship must be dedicated to the moon because of its influence on plant growth, the tides and its use as a marker of time, but each town must have their deities and local shrines. The leaders lived in palaces and monumental enclosures while the people lived in thatch houses with small rooms and outside the monumental architecture.

CERAMICS CHIMU
The Chimu ceramics fulfilled two functions, such as containers for daily use or domestic and ceremonial use pottery or burial offerings, the first was made without much finish as the funeral showed rather dedication. The main features of the Chimu vessels are a small sculpture at the junction of the neck with the bow, manufacture ceremonial pottery molded and shaped for use daily, usually metallic black coloration with some variations in brightness characteristic was obtained by steaming the vessel which had been previously polished. In small amounts are also produced light-colored pottery. In the ceramics have been translated many realistic representations as animals, fruits and characters, as well as mythological scenes.

METALLURGY CHIMU
Chimu artisans worked metals in workshops divided into sections for each case of specialized treatment of metals; worked plating, gilding, printing, the lost wax casting, the pearl filigree, embossing on mold wood, etc. With all these techniques produced large numbers of objects such as cups, knives, bowls, animal figures solid or empty, bracelets, pins, crowns, etc. To make alloys used combinations of acids were naturally. Minerals must be obtained from mines open shortcut, rivers and tunnels. metals used were copper, silver, gold and tin.

HOW melting the metals?
The mined ore milled in fulling to separate them from other minerals and impurities are then fused in a kiln fuel was charcoal and mineral constantly due to fan the embers blowing them with long tubes in order to raise the temperature.

CHIMU
Textiles Spinning is the practice manual and elementary strings together a set of small to achieve a long continuous thread, in this initial work of the textiles used different instruments such as the spindle. The spindle, is a handheld wand made of a generally smaller and thinner than it thins out at both ends, it is used together with a griddle or Piruro inserted into the bottom for a counterbalance. It begins to spin around by the spinning wheel (where the fiber is set to be spun) some fibers that are fixed in the spindle that will turn quickly between thumb and forefinger cordial winding and twisting to achieve continuous fibers.
When they had obtained the necessary threads are started interbreeding bone tissue or combination of yarns to make fabrics.
The Chimu drew up fabrics, chiffon, brocade, embroidery, fabrics, double, fabric paint, etc.. Sometimes textiles were decorated with feathers and gold and silver plates, the dyes were obtained from certain plants containing tannin, and walnut molle; of ferruginous clay minerals such as aluminum and biting animals and cochineal. The garments were made from the wool of four animals, the guanaco, llama, alpaca, and vicuña and native cotton plant that grows naturally in seven different colors. The clothing of the Chimu was in loincloths, tank tops with or without fringes, small ponchos, tunics, etc.

THE SUNSET CHIMU
the mid-fifteenth century, the most powerful kingdom in the coast, was annexed by the prince to Tahuantinsuyo Inca Tupac Yupanqui (son of Pachacutec "the founder of the empire"). This during the reign of Chimocapac Caman Michan. According to the chronicles, it was very difficult to break into the realm Inca prince, by the imposing walls of Chan Chan, it is said that the capture would have occurred only chanchan after 6 long months.

Tuesday, October 16, 2007

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CIVILIZATION THE KINGDOM O LAMBAYEQUE



LOCATION
Sicán is an archaeological culture that was centered in the vast region of Lambayeque (composed Motupe valleys, La Leche, Lambayeque and Zana), and emerged around 750 AD, after the political collapse of the Moche. Lasted until the year 1375 AD, when the area was conquered by lambayecana Chimu Kingdom (Chimor), its southern neighbors.

STYLE NAMES
Because of its geographical center, this culture was initially named as Eten by archaeologist Max Uhle German and later Lambayeque Peru by researcher Rafael Larco Hoyle. However, until the beginning of Sicán Archaeological Project, an understanding of the Sican culture was limited to his artistic style and iconography, defined from funerary ceramics looted. Its cultural history was reconstructed on the basis of the assumed historical veracity of the myth of Naymlap and his dynasty, a story that was recorded at the beginning of the colony. While there are some commonalities between myth and archaeological data, it is controversial tendency to believe that the myth accurately reflect historical reality. However, this does not mean not continue to investigate the role of the origins of Naymlap Sicán or Lambayeque.


CERAMICA
manufacturing techniques used two vessels associated with distinct features and functionalities. The utilitarian vessels (eg pots and pans) were made with the technique of the palette, using paddle and anvil. The pallet not only build and strengthen the walls of the vessel, but also its exterior decorated with figurative and abstract designs. These designs highlight representing valuables thumbnails or icons, such as bottles double peak, the tumis, axes currencies (Known locally as "cards"), the sun, iguanas, cats sitting and Sicán God.

Meanwhile, f inas vessels (eg neck bottles of single and double peak) were developed and decorated using molds. These vessels were baked in ovens, oval, semi-closed, at a temperature ranging between 700 to 900 º C. Middle Sicán potters were distinguished by producing black pottery in a reducing atmosphere, with the likely use of llama dung as fuel. The technology of burning, along with the prestige of religious art Sicán Middle, seem to explain the rapid spread black finish and popularity in much of the coast, which supplanted the polychrome expansion imposed by the Wari-Pachacamac. Textiles


In the case of textiles, the few examples that have been recovered we illustrate the use of native natural color cotton and camelid wool fiber. It was remarkable knowledge of a variety of techniques such as tapestry, painted fabric, using colored pens, etc.. The god Sican or Naymlap appears frequently represented in the tapestries, and are remarkable painted cloth scrolls found in the tombs, which probably served to be placed on walls of architectural structures associated with the elite.

TUMI CEREMONIAL KNIFE SICAN

METALLURGY AND SILVER
One of the most important legacies was his Middle Sicán metallurgical technology. Although their gold objects are attracting the most public attention was his successful large-scale smelting arsenical copper what distinguished Sicán metallurgy. Compared with pure copper, this alloy offers superior ductility (the ability of a material to be deformed without breaking), greater strength, hardness and corrosion resistance. Was used to produce a wide variety of utilitarian items (Eg, knives, needles, and instruments for digging). His casting was done in small, pear-shaped furnaces, using coal as fuel and air supplied by the human lung, through reeds supplemented with ceramic tubes. The burden of casting was made with copper ore, crushed rock with a (crappy) on an anvil stone stable (Fuller). The metal foundries are located throughout the Lambayeque region, and this large-scale production of arsenical copper was formed as the major driving force in the Middle Sicán economy.

Goldwork distinguished Sicán Middle by the unprecedented scale in the production and use of precious metals. The well-known ceremonial knives (tumis) and gold masks are Sicán objects looted from tombs of the elite. What is traditionally described as gold or gold alloy are alloys gold-silver-copper ranging from one to 21 carats. Alloys of less than 10 carats, are called Tumbaga. Following the tradition of the north coast, the gold Sicán emphasized the sheet metal work, using stone hammers and anvils. Embossed trim and were the main decorative techniques. To develop a variety of objects, goldsmiths Sicán produced a wide range of alloys, gold-silver-copper, with different mechanical properties and colors. The use and the accumulation of precious objects was a prerogative of the elite. The precious metal objects became the artistic standard, bearing the iconography Sicán Middle and being imitated by pottery and other crafts.

MASCARA SICAN

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