2001.262 Blue and yellow featherwork panel (Peru, Wari)


GENERAL DESCRIPTION  
In 1943 workers digging near the Peruvian village of La Victoria found eight ceramic jars, each featuring a portrait face on its neck. The jars, which are some of the finest ceremonial pottery produced by the coastal Huari (Wari) culture, contained ninety‑ six feathered panels like this one. It is not known if the panels were woven strictly as offerings, but this was certainly their ultimate function. The tradition of offertory caches is one of the distinctive characteristics of Huari culture. The saturated yellow and iridescent blue feathers came from the blue and gold macaw, a bird native to the tropical forests east of the Andes. The making of featherwork, while tedious, is thought to have been well organized and specialized. The shaft of each feather was bent back around a cotton cord and then secured by knots tied with a second cord. The cords of tied feathers were then secured with stitching to cotton cloth.

Excerpt from 
Bonnie Pitman, ed., "Panel with rectangles of blue and yellow featherwork (2001.262)," in Dallas Museum of Art: A Guide to the Collection (New Haven, CT: Yale University Press, 2012), 29.

NOTES
Wari (Huari), Middle Horizon, 650–850 C.E., updated by KJones in TMS on 10/15/13, 01/03/14, 06/19/14, and 01/05/16.

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Artist/designers

Cultures

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RELATED OBJECTS 

PROVENANCE 
n.d.: John Huston [1], [2]

From at least 1969-early 1970s: Andre Emmerich Inc., New York, on consignment for the exhibition, "Sun Gods and Saints: Art of Pre-Columbian and Colonial Peru," Andre Emmerich Inc., New York, December 6-31, 1969 [1], [2]

early 1970s-mid 1990s: American private collection [1], [2]

From mid 1990s: Japanese private collection [1], [2]

From 2001: Dallas Museum of Art, Textile Purchase Fund, purchased from Ancient Art of the New World, Inc. (Claudia Giangola and John Menser), New York [1], [2]

[1] The main source for this provenance was existing provenance information in TMS. Exceptions and other supporting documents are noted.

[2] The main source for this provenance is Ancient Art of the Americas' invoice (dated May 3, 2001, copy in Dallas Museum of Art Collections Records Object File). Exceptions and other supporting documents are noted.

AUDIO ASSETS 

VIDEO ASSETS
12937070: UMO. Curator Carol Robbins discusses this feather panel.

IMAGE ASSETS
253363177: UMO. [Caption] Blue and Yellow Macaw (ara ararauna). Source: Benjamint444, Wikimedia Commons, accessed: April 27, 2015, http://en.wikipedia.org/wiki/Blue-and-yellow_macaw#/media/File:Blue-and-Yellow-Macaw.jpg.

WEB RESOURCES 

ARCHIVAL RESOURCES

FUN FACTS

TEACHING IDEAS

RULES
Apply to objects where number equals 2001.262

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General Description
 
In 1943 workers digging near the Peruvian village of La Victoria found eight ceramic jars, each featuring a portrait face on its neck. The jars, which are some of the finest ceremonial pottery produced by the coastal Huari (Wari) culture, contained ninety‑ six feathered panels like this one. It is not known if the panels were woven strictly as offerings, but this was certainly their ultimate function. The tradition of offertory caches is one of the distinctive characteristics of Huari culture. The saturated yellow and iridescent blue feathers came from the blue and gold macaw, a bird native to the tropical forests east of the Andes. The making of featherwork, while tedious, is thought to have been well organized and specialized. The shaft of each feather was bent back around a cotton cord and then secured by knots tied with a second cord. The cords of tied feathers were then secured with stitching to cotton cloth.

Excerpt from 
Bonnie Pitman, ed., "Panel with rectangles of blue and yellow featherwork (2001.262)," in Dallas Museum of Art: A Guide to the Collection (New Haven, CT: Yale University Press, 2012), 29.

Fun Facts

Archival Resources

Web Resources
 
Notes
Wari (Huari), Middle Horizon, 650–850 C.E., updated by KJones in TMS on 10/15/13, 01/03/14, 06/19/14, and 01/05/16.

Catalogue essays

Artist/designers

Cultures

Geography 

Process/materials

Historical periods

Individuals

Subject terms

RELATED OBJECTS 

PROVENANCE 
n.d.: John Huston [1], [2]

From at least 1969-early 1970s: Andre Emmerich Inc., New York, on consignment for the exhibition, "Sun Gods and Saints: Art of Pre-Columbian and Colonial Peru," Andre Emmerich Inc., New York, December 6-31, 1969 [1], [2]

early 1970s-mid 1990s: American private collection [1], [2]

From mid 1990s: Japanese private collection [1], [2]

From 2001: Dallas Museum of Art, Textile Purchase Fund, purchased from Ancient Art of the New World, Inc. (Claudia Giangola and John Menser), New York [1], [2]

[1] The main source for this provenance was existing provenance information in TMS. Exceptions and other supporting documents are noted.

[2] The main source for this provenance is Ancient Art of the Americas' invoice (dated May 3, 2001, copy in Dallas Museum of Art Collections Records Object File). Exceptions and other supporting documents are noted.

AUDIO ASSETS 

VIDEO ASSETS
12937070: UMO. Curator Carol Robbins discusses this feather panel.

rules
Apply To
Objects
number
Equals
2001.262
tags
#draft
#completed
@Higgins
*Arts of the Americas
%copyedited_Gail
%Archived
yellow (color): AAT: 300127794
blue (color): AAT: 300129361
textiles (visual works): AAT: 300014063
Peru (nation): TGN: 1000056
feather (material): AAT: 300011809
macaws (birds/animals): AAT: 300310660
253363177: UMO
Wari (Huari): AAT: 300017283
Wari (Huari): TGN: 1024536
Middle Horizon period (Pre-Columbian Andean styles and periods): AAT: 300017300
textile materials: AAT: 300231565
hangings (coverings): AAT: 300205010
featherwork: AAT: 300044032
wall hangings: AAT: 300204886
12937070: UMO
Ocoña (Peru): TGN: 1024645
source file
object_notes_3_b-0009.xml.nores