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Llacsahuanga, A., (2021). Los cambios evolutivos en el arte textil yine [Trabajo de investigación, Universidad Peruana de Ciencias Aplicadas (UPC)]. http://hdl.handle.net/10757/658003
Llacsahuanga, A., Los cambios evolutivos en el arte textil yine [Trabajo de investigación]. PE: Universidad Peruana de Ciencias Aplicadas (UPC); 2021. http://hdl.handle.net/10757/658003
@misc{renati/397693,
title = "Los cambios evolutivos en el arte textil yine",
author = "Llacsahuanga Pérez, Annie del Rosario",
publisher = "Universidad Peruana de Ciencias Aplicadas (UPC)",
year = "2021"
}
Title: Los cambios evolutivos en el arte textil yine
Other Titles: Evolutionary changes in yine textile art
Authors(s): Llacsahuanga Pérez, Annie del Rosario
Advisor(s): Dall'Orto Mas, Duilio Rafael
Keywords: Arte textil; Técnicas ancestrales; Iconografía; Comunidad Yine; Textile art; Ancient techniques; Iconography; Yine Community
OCDE field: https://purl.org/pe-repo/ocde/ford#6.04.09
Issue Date: 7-Jul-2021
Institution: Universidad Peruana de Ciencias Aplicadas (UPC)
Abstract: La presente investigación tiene como objetivo general desarrollar un proyecto de diseño de indumentaria a partir del análisis teórico y visual de los cambios evolutivos del arte textil yine. Desde la época preincaica, los yine han tenido contacto con diversos grupos que han influido en la evolución de sus técnicas textiles. El primer contacto fue con los matsiguengas, con quienes aprendieron a hilar y tejer algodón en telar. Luego, los yanesha les enseñaron a usar el tlipi, un vegetal que al hervirlo segrega un tinte amarillento que es utilizado como líneas base antes del pintado de la iconografía. Finalmente, los misioneros llevaron pinceles, mostacillas, nuevas prendas (blusas de popelina) y tintes a la comunidad.
Para el desarrollo de la investigación, se han desarrollado dos entrevistas. La primera fue a Emily Urquía, presidenta de la Asociación de artesanías Mashko Yine, la cual brinda información importante de su experiencia y convivencia en la comunidad Yine. Y la segunda entrevista fue a Sumy Kujon, autora del libro Ajuar Amazónico: Rescate textil e indumentaria Harakmbut y Yine, la cual contribuyó con su percepción sobre el arte textil yine actual. Asimismo, se escogieron diez antecedentes de investigación y seis de diseño que aportan información y son una guía para el desarrollo del presente trabajo.
Del mismo modo, se trabajaron referencias visuales como los moodboards, collage y bocetos para cumplir con el objetivo general. Se buscaron referencias de color, texturas, tipologías, siluetas, entre otros, que se reflejan en los diez figurines finales.
The general objective of this research is to develop an apparel design project based on the theoretical and visual analysis of the evolutionary changes of yine textile art. Since pre-Inca times, the Yine have had contact with various groups that have influenced the evolution of their textile techniques. The first contact was with the Matsiguengas, with whom they learned to spin and weave cotton on a loom. Later, the Yanesha taught them to use tlipi, a vegetable that, when boiled, secretes a yellowish tinge that is used as baselines before the iconography is painted. Finally, the missionaries brought brushes, beads, new clothes (poplin blouses), and dyes to the community. For the development of the research, two interviews have been developed. The first went to Emily Urquía, president of the Mashko Yine Handicrafts Association, which provides important information about her experience and coexistence in the Yine community. And the second interview was with Sumy Kujon, author of the book Ajuar Amazónico: Rescate textile e indumentaria Harakmbut y Yine, which contributed with her perception of current yine textile art. Likewise, ten research and six design antecedents were chosen that provide information and are a guide for the development of this work. In the same way, visual references such as moodboards, collage and sketches were worked to fulfill the general objective. References of color, textures, typologies, silhouettes, among others, were sought, which are reflected in the final ten figurines.
The general objective of this research is to develop an apparel design project based on the theoretical and visual analysis of the evolutionary changes of yine textile art. Since pre-Inca times, the Yine have had contact with various groups that have influenced the evolution of their textile techniques. The first contact was with the Matsiguengas, with whom they learned to spin and weave cotton on a loom. Later, the Yanesha taught them to use tlipi, a vegetable that, when boiled, secretes a yellowish tinge that is used as baselines before the iconography is painted. Finally, the missionaries brought brushes, beads, new clothes (poplin blouses), and dyes to the community. For the development of the research, two interviews have been developed. The first went to Emily Urquía, president of the Mashko Yine Handicrafts Association, which provides important information about her experience and coexistence in the Yine community. And the second interview was with Sumy Kujon, author of the book Ajuar Amazónico: Rescate textile e indumentaria Harakmbut y Yine, which contributed with her perception of current yine textile art. Likewise, ten research and six design antecedents were chosen that provide information and are a guide for the development of this work. In the same way, visual references such as moodboards, collage and sketches were worked to fulfill the general objective. References of color, textures, typologies, silhouettes, among others, were sought, which are reflected in the final ten figurines.
Link to repository: http://hdl.handle.net/10757/658003
Discipline: Diseño y Gestión en Moda
Grade or title grantor: Universidad Peruana de Ciencias Aplicadas (UPC). Facultad de Diseño
Grade or title: Bachiller en Diseño y Gestión en Moda
Register date: 13-Nov-2021
This item is licensed under a Creative Commons License