It is a story about how the authors serendipitously came together to begin a collaboration that would result in new knowledge that neither could have obtained on their own. Re-Awakening Ancient Salish Sea Basketry, however, is more than a story about basketry. Using the “life story” approach, the authors touch upon a number of topics spanning the period from 5,000 years ago to the present day. This particular story of Northwest basketry is told through the eyes of two men who have spent the last 50 years of their lives exploring the art and technology of basketry, one culturally and one scientifically. REVIEW at: Re-Awakening Ancient Salish Sea Basketry: Fifty Years of Basketry Studies in Culture and Science is a unique look at basketry from the Northwest Coast of North America. Instead, Greenlandic textiles appear to have been consistently produced for household consumption, without the intense standardization for trade observed in medieval Icelandic collections. Overall, the Tatsipataa collection suggests that Greenlandic textile production did not follow the evolutionary trajectory of Icelandic textiles, which became a form of currency from the early- to the later Middle Ages. The sudden appearance of this distinctive weft-dominant Greenlandic homespun in the mid-14th century suggests that its production was a domestic adaptation to the initial climatic fluctuations of the Little Ice Age. This cloth type has previously been noted in other, later, Greenlandic collections, but the Tatsipataa collection provides new evidence for the date of its first production. From this point onward, Greenlandic women wove a weft-dominant cloth unique to Greenland. Analysis of this collection showed that while the earliest fragments mirror Icelandic counterparts of comparable ages, by the 14th century the Ø172 collection changes considerably. This collection is important as it stems from a well-contextualized and well-stratified sequence, allowing significant insights into the evolution and nature of cloth production in Greenland. Eventually, the piece was recognized as the ending part of a large panel, which is now in the Abegg Stiftung in Riggisberg, Switzerland.Ībstract - Midden excavations at Ø172 (Tatsipataa), on the eastern shore of the Igaliku fjord in southwestern Greenland, produced a significant textile collection consisting of 98 fragments. In light of the recent material excavated, published online, or displayed in Dunhuang, in this article, I reevaluate the data previously collected and discuss in detail the technical and iconographic features of one of the fragments held in Hangzhou. In my previous work, I briefly discussed a group of silk textiles, possibly from Qinghai or Sichuan, that I analyzed in 2014 in the China National Silk Museum in Hangzhou, Zhejiang. The exhibition “Cultural Exchange Along the Silk Road – Masterpieces of the Tubo Period,” organized by the Dunhuang Research Academy and the Pritzker Collaborative Art between July and October 2019 in Dunhuang, Gansu, was a groundbreaking event that gathered scholarly attention on early Tibetan material culture, but a relevant publication is still forthcoming. Although these textiles, dated to the early Tibetan period, follow a popular prototype established in Central Asia in the 6th century, the technical features, colors, and other indigenous elements suggest that they were woven in workshops different from those established between Sogdiana and Gansu. Many similar textiles, possibly from this area, have appeared lately on the art market and ended in private collections. Recent excavations in Qinghai Province, China, have disclosed textiles and artworks from Tuyuhun-Tubo (Tibetan) tombs, dated to the 7th-9th centuries, that suggest artistic and cultural exchanges along an external southern branch of the main Silk Road, between Gansu and Sichuan Provinces, across the Qinghai-Tibetan plateau toward the Himalayas.
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