the exquisite geometric art of the shipibo: catalogue

TEXTILE & BEADWORKTEXTILE & BEADWORK

CATALOGUECATALOGUE Collection by Howard G. CharingCollection by Howard G. Charing

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ART OF THE SHIPIBO ‐ CATALOGUE

EACH PIECE IS UNIQUE AND HAND ‐ CRAFTED

CONTENTS

ALL IMAGES: © HOWARD G CHARING. ALL RIGHTS RESERVED.

1 EMBROIDERED AND PAINTED CHITONTI

2 HAND PAINTED TEXTILE (TOCUYO / HOME SPUN COTTON) PAINTINGS

3 SMALL HAND PAINTED & EMBROIDERED TEXTILES

4 HAND PAINTED & EMBROIDERED BAGS

5 CEREMONIAL MAITI (CROWNS)

6 CEREMONIAL CUSHMAS

7 BEADWORK

8 HOWARD’S ‐ SHIPIBO PHOTO GALLERY

9 PRICE LIST, LINKS, & CONTACT INFO

10 ARTICLE ‘COMMUNION WITH THE INFINITE: THE VISUAL MUSIC OF THE SHIPIBO’

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The Art of the Shipibo ‐ Introduction Underlying the intricate geometric patterns of great complexity displayed in the art of the Shipibo people is a concept of an all pervading magical reality which can challenge the Western linguistic heritage and rational mind.

These patterns are more than an expression of the one‐ness of creation, the inter‐changeability of light and sound, the union or fusion of perceived opposites, it is an ongoing dia‐logue or communion with the spiritual world and powers of the Rainforest. The visionary art of the Shipibo brings this paradigm into a physical form. The Ethnologist Angelika Gebhart‐Sayer, calls this “visual music”. The Shipibo are one of the largest ethnic groups in the Peru‐vian Amazon. These ethnic groups each have their own lan‐guages, traditions and culture. The Shipibo which currently number about 20,000 are spread out in communities through the Pucallpa / Ucayali river region. All the textile painting, embroidery, and artisan craft is car‐

ried out by the women. From a young age the Shipibo females are initiated by their mothers and grandmothers into this practice. Teresa a Shipiba who works with us on our Amazon Retreats tells that “when I was a young girl, my mother squeezed drops of the Piripiri (a species of Cyperus sp.) ber‐ries into my eyes so that I would have the vision for the designs; this is only done once and lasts a life‐time”. The intricate Shipibo designs have their origin in the non‐manifest and ineffable world in the spirit of the Rainforest and all who live there. The designs are a representation of the Cosmic Serpent, the Ana‐conda, the great Mother, creator of the universe called Ronin Kené . For the Shipibo the skin of Ronin Kené has a radiating, electrifying vibration of light, colour, sound, movement and is the embodiment of all possible pat‐terns and designs past, present, and future. The designs that the Shipibo paint are channels or conduits for this multi‐sensorial vibrational fusion of form, light and sound. Although in our cultural paradigm we perceive that the geometric patterns are bound within the border of the textile or ceramic vessel, to the Shipibo the pat‐terns extend far beyond these borders and permeate the entire world. One of the challenges for the Western mind is to acknowledge the relationship between the Shipibo designs and music. For the Shipibo can “listen” to a song or chant by looking at the designs, and in‐versely paint a pattern by listening to a song or music. From: ‘Communion with the Infinite’ by Howard G Charing

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EMBROIDERED CHITONTIS Often worn as a wrap‐around skirt by Shipibo women. Used as ornamental wall hangings and table covers. Typical size: 62cm (24.5 inches) X 148cm (58 inches).

This piece is a combination with intricate embroidery crafted in the traditional appliqué style with the side panels painted using the juice of the crushed huito berry as a dye on mahogany bark.

Figure 1

Figure 2

This piece is has intricate embroidery on mahogany bark dyed white cotton.

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A combination piece with intricate embroidery with the side panels painted in the traditional style using the juice of the huito berry juice as a dye on a white cotton cloth dyed with mahogany bark.

Figure 3

Figure 4

Intricate embroidery with the side panels painted in the traditional style using the juice of the huito berry juice as a dye on a white cotton cloth dyed with mahogany bark

6


Figure 5

An intricate and richly embroidered piece with complex wide border patterns.

Figure 5a

7


Fig. 6

A combination piece with intricate embroidery with the side panels painted in the traditional style using the juice of the huito berry juice as a dye on a white cotton cloth dyed with mahogany bark.

Fig. 7

Intricate embroidery with the side panels painted in the traditional style using the juice of the huito berry juice as a dye on a white cotton cloth dyed with mahogany bark. The corner pieces exhibit concentric Shipibo cross motif.

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Fig. 8

Fig. 8a

A complex dual embroidery symmetrical pattern and wide border design on white cotton dyed with mahogany

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Fig. 9

A complex dual embroidery symmetrical circular pattern and wide border design on white cotton dyed with mahogany bark.

Fig. 10

A complex dual embroidery symmetrical circular pattern on white cotton dyed with mahogany bark. An interesting feature is that the panel border is painted in the traditional style using the juice of the huito berry as a dye

10


Fig. 11

An intricate embroidery on a white cotton cloth dyed with mahogany bark.

Fig. 12

A complex dual embroidery symmetrical pattern on white cotton dyed with mahogany bark.

11


Fig. 13

An intricate embroidery on a white cotton cloth dyed with mahogany bark.

Fig. 14

An ornate embroidered pattern on a white cotton cloth dyed with mahogany bark.

12


Fig. 15

Intricate embroidery with the side panels painted in the traditional style using the juice of the huito berry as a dye on a white cotton cloth dyed with mahogany bark

Fig. 16


13


Fig. 17

This cloth has been crafted in the traditional appliqué style, the constructions of the central patterns are both simpler and bolder. The sides of this piece are painted with huito dye on mahogany dyed cot‐

Fig. 18

An ornate embroidered pattern on a white cotton cloth dyed with mahogany bark. With the side panels painted in the traditional style using the juice of the huito berry as a dye

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Fig. 19

A combination piece with intricate embroidery and the center design painted in the traditional style using the juice of the huito berry as a dye. On a white cotton cloth dyed with mahogany bark.

Fig. 20

A combination piece with intricate embroidery and the center design painted in the traditional style using the juice of the huito berry as a dye. On a white cotton cloth dyed with mahogany bark. This piece is an exceptional example of the Shipibo craftwork.

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Fig. 21


Fig. 22


16

Fig. 23



Fig. 24


17


Fig. 25


Fig. 26


18


Fig. 27

An ornate embroidered pattern on a white cotton cloth dyed with mahogany bark

Fig. 28

An ornate embroidered pattern on a white cotton cloth with deep borders, dyed with mahogany bark.

19


Fig. 29

Intricate dual patterned embroidery with the side panels painted in the traditional style using the juice of the huito berry as a dye on a white cotton cloth dyed with mahogany bark

Fig. 30

An ornate embroidery with deep borders on a white cotton cloth dyed with mahogany bark.

20


Fig. 31

This again is a combination of traditional painting and embroidery. Interestingly the cotton used in the embroidery has been dyed with mahogany. The ornate outer motif on the borders represents the Cosmic Anaconda.

Fig. 31a

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HAND PAINTED TOCUYO (HOME SPUN COTTON) TEXTILES. In Shipibo these are known as ‘Chupa Quenaya’. They dye the fabrics in mahogany bark to produce the characteristic brown colours. Typical sizes: 160cm (60 inches) X 155cm

Fig. 32

Fig. 32a

22


Fig. 33

Very detailed piece with the Ayahuasca vine motif (cross section of vine) in the centre. Painted on tocuyo with the juice of crushed berries of huito.

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Fig. 34

DETAIL

24


Fig. 35

DETAIL

25


A very large 180cm x 175cm painted textile. With an intricate sym‐metric pattern. This is an outstanding example of Shipibo geo‐metric designs.

Fig. 36

DETAIL

26


Fig. 37

DETAIL

27


Fig. 38

DETAIL

28


Fig. 39

DETAIL

29


Fig. 40

DETAIL

30


Fig. 41

This is an exceptional Kené design. Large size piece 180cm x 175 cm.

DETAIL

31


Fig. 42

DETAIL

32


Fig. 43

DETAIL

33


Fig. 44

DETAIL

34

Fig. 48. 30cm (12 inches) X 30cm

SMALL HAND PAINTED & EMBROIDERED TEXTILES


Fig. 49. 36cm (14 inches) X 23cm (9 inches)


35

Fig. 50 25cm (10 inches) X 25cm


Fig. 51 30cm (12 inches) X 25cm (10 inches)

Fig. 52 30cm (12 inches) X 25cm (10 inches) Fig. 53 30cm (12 inches) X 25cm (10 inches)

Fig. 54 30cm (12 inches) X 25cm (10 inches) Fig. 55 30cm (12 inches) X 30 cm

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Fig. 57. 30m (12 inches) X 20cm (8 inches)

Fig. 58. 30m (12 inches) X 20cm (8 inches)

37





38

Fig. 62

HAND PAINTED & EMBROIDERED BAGS

Fig. 63

Fig. 64 Fig. 65

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Fig. 66

HAND PAINTED & EMBROIDERED BAGS

Fig. 66A

Fig. 66A DETAIL

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CEREMONIAL MAITI (CROWNS) Fig. 67 Front & Rear

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CEREMONIAL MAITI (CROWNS) Fig. 68 Front & Rear

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CEREMONIAL MAITI (CROWNS) Fig. 69 Front

43

CEREMONIAL CUSHMAS. Fig. 70

DETAIL

44

CEREMONIAL CUSHMAS.

Shipibo Shaman: Enrique Lopex wearing ceremonial Cushma and Mati.

Shipibo Shaman: Leoncio Garcia wearing ceremonial Cushma

45

CEREMONIAL CUSHMAS. Fig. 70a FRONT

DETAIL

46

CEREMONIAL CUSHMAS. Fig. 70a BACK

DETAIL

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Fig. 73

Fig. 72

Fig. 74

Fig. 71

SHIPIBO HAND CRAFTED BEADWORK

48


Fig. 75 Pectoral Piece with Shacapa seeds

49



50


Fig. 77 Pectoral Piece with choloque seeds

51



52


Fig. 79

Fig. 80

Fig. 81

Fig. 82

53


Fig. 83. An exceptional Pectoral piece (Museum quality). With convex pendants made from aircraft aluminium

54


Fig. 84. Pectoral Piece with Shacapa seeds

55


Fig. 85

Fig. 86

Fig. 87

Fig. 88

56


Fig. 89 Pectoral Piece with Hurayruro seeds

57


Fig. 89 Pectoral Piece with Hurayruro seeds DETAIL

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Fig. 90 A beautiful bag made from the small round seeds of Achira (Canna) seeds with the 'clasp' the red and black Huayruro (Ormosia) seed. The twine is made from Tamshi (Heteropsis jenmanii).

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HOWARD’S ‐ SHIPIBO PHOTO GALLERY

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Shipibo Shaman: Benkamin Ochavano with family

BEADWORK

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BANNER AT ICPNA (LIMA) EXHIBITION OF SHIPIBO ART; ‘UNA VENTANA HACIA EL INFINITO’ 2002

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Me with Shipibas looking at their artisan work.

Pablo Amaringo ‐ with traditional Shipibo wood bark painting using the resin of the tree 'Sangre de grado' (Croton lechleri) as paint. Photo: March 2009 Pucallpa

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Teresa: A super sweet friend of long standing, who works with us at our Retreats in the Amazon. She has shown and taught me much about the the magical art of the Shipibo.

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INDEX & PRICE LIST: CHITONTIS

ITEM EUROS US$

Fig. 1 160 200

Fig. 2 100 130

Fig. 3 160 200

Fig. 4 100 130

Fig. 5 160 200

Fig. 6 140 180

Fig. 7 120 160

Fig. 8 160 200

Fig. 9 160 200

Fig. 10 160 200

Fig. 11 120 160

Fig. 12 160 200

Fig. 13 120 160

Fig. 14 140 180

Fig. 15 160 200

Fig. 16 160 200

Fig. 17 NFS

Fig. 18 160 200

Fig. 19 140 180

Fig. 20 NFS

Fig. 21 160 200

Fig. 22 100 130

Fig. 23 100 130

Fig. 24 160 200

Fig. 25 160 200

Fig. 26 160 200

Fig. 27 140 180

Fig. 28 120 160

Fig. 29 160 200

Fig. 30 120 160

Fig. 31 NFS

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INDEX & PRICE LIST: PAINTINGS ON TOCUYOS & SMALL TEXTILES

ITEM EUROS US$

Fig. 32 100 130

Fig. 33 140 180

Fig. 34 120 160

Fig. 35 120 160

Fig. 36 NFS

Fig. 37 120 160

Fig. 38 120 160

Fig. 39 120 160

Fig. 40 100 130

Fig. 41 140 180

Fig. 42 120 160

Fig. 43 120 160

Fig. 44 120 160

Fig. 45 ‐ ‐

Fig. 46 10 13

Fig. 47 10 13

Fig. 48 10 13

Fig. 49 40 52

Fig. 50 NFS

Fig. 51 10 13

Fig. 52 15 20

Fig. 53 15 20

Fig. 54 15 20

Fig. 55 15 20

Fig. 56 30 40

Fig. 57 30 40

Fig. 58 30 40

Fig. 59 25 32

Fig. 60 NFS

Fig. 61 25 32

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INDEX & PRICE LIST: BEADWORK , BAGS, & CUSHMAS

ITEM EUROS US$

Fig. 62 30 40

Fig. 63 50 65

Fig. 64 15 20

Fig. 65 NFS

Fig. 66 15 20

Fig. 66A 40 52

Fig. 67 100 120

Fig. 68 140 180

Fig. 69 140 180

Fig. 70 200 260

FIG. 70A 200 260

Fig. 71 40 52

Fig. 72 40 52

Fig. 73 50 65

Fig. 74 65 85

Fig. 75 120 160

Fig. 76 120 160

Fig. 77 120 160

Fig. 78 120 160

Fig. 79 50 65

Fig. 80 40 52

Fig. 81 40 52

Fig. 82 40 52

Fig. 83 P.O.A

Fig. 84 120 160

Fig. 85 40 52

Fig. 86 40 52

Fig. 87 40 52

Fig. 88 50 65

Fig. 89 80 105

Fig.90 60 78

The Shipibo are one of the largestindigenous peoples in the PeruvianAmazon. These ethnic groups eachhave their own languages,traditions and culture. The Shipibo,who currently number about20,000, are spread out incommunities through the Pucallpa -Ucayali river region. They are highlyregarded in the Amazon as beingmasters of the hallucinogenic vine,Ayahuasca, and many aspiringshamans and Ayahuasqueros fromthe region study with the Shipibo tolearn their language, chants, andplant medicine knowledge.

In their visionary art the Shipibocreate complex geometric patternswhich convey an all pervadingmagical reality which can challengethe Western linguistic heritage andrational mind. These intricatepatterns are more than anexpression of the one-ness ofCreation, the inter-changeability oflight and sound, or the union ofperceived opposites. They are an

ongoing dialogue or communion withthe spiritual world and powers of theRainforest. Their art forms bring thisparadigm into a physical form. TheEthnologist Angelika Gebhart-Sayer,calls this ‘visual music’.

Initiated womenAll the textile painting, embroidery,and artisan craft is carried out bythe women. From a young age theShipibo females are initiated bytheir mothers and grandmothersinto this practice. Teresa, a Shipibawho works with us on our AmazonRetreats, tells that “when I was ayoung girl, my mother squeezeddrops of the piripiri (a species ofcyperus sp.) berries into my eyesso that I would have the vision forthe designs. This is only doneonce and lasts a lifetime”.

The intricate designs have theirorigin in the non-manifest andineffable world within the spirit ofthe Rainforest and all who livethere. They are a representation of

COMMUNION

with the

INFINITE

The visual music ofthe Shipibo peopleof the Amazon

HOWARD G. CHARING

SH WINTER 2005 30

Underlying the intricate geometricpatterns of great complexity displayed in

the art of the Shipibo people is a conceptof an all pervading magical reality which

can challenge the Western linguisticheritage and rational mind.

Above left: Shipibo women (shipiba) intraditional dress gathered at Iquitos toshow their craft and artisan work

Above right: Shipibo textile, a combination ofembroidery and traditional painting with huitodyes on mahogany bark dyed white cotton

the Cosmic Serpent, theAnaconda, the great Mother,Creator of the universe calledRonin. For the Shipibo the skin ofRonin has a radiating, electrifyingvibration of light, colour, sound,movement and is the embodimentof all possible patterns anddesigns past, present, and future.

The designs that the Shipibopaint are channels or conduits forthis multi-sensorial vibrationalfusion of form, light and sound.Although in our cultural paradigmwe perceive that the geometricpatterns are bound within theborder of the textile or ceramicvessel, to the Shipibo the patternsextend far beyond these bordersand permeate the entire world.

Painting musicOne of the challenges for theWestern mind, is to acknowledgethe relationship between thesedesigns and music. For the Shipibocan ‘listen’ to a song or chant bylooking at the designs - andinversely, paint a pattern by listeningto a song or music.

As an astonishingdemonstration of this I witnessedtwo Shipiba paint a largeceremonial ceramic pot known asa mahuetá. The pot was nearly fivefeet high and had a diameter ofabout three feet. Neither could seewhat the other was painting, yetboth were whistling the samesong. When they had finished both

sides of thecomplexgeometricpattern wereidentical andmatched eachside perfectly.

The Shipibodesigns aretraditionallycarried out onnatural un-dyedcotton - whichthey often growthemselves - or oncotton dyed inmahogany bark(usually three or fourtimes) which givesthe distinctivebrown colour.

They paint usingeither a pointed piece ofchonta (bamboo), or aniron nail, with the juice ofthe crushed huito berry fruits(genipa americana) which turnsinto a blue- brown-black dye onceexposed to air.

Each of the designs are unique,even the very small pieces, andthey cannot be commercially ormass produced. In Lima I met witha woman who had set up agovernment-funded communityproject which, amongst othermatters, established a collectivefor the Shipibo to sell their artisanwork and paintings. She tells thata major USA corporation (Pier 1

Imports),enamoured

by thesedesigns,

ordered via theproject twenty

thousand textiles with the samedesign. This order could never befulfilled - the Shipibo simplycouldn’t comprehend the conceptof replicating identical designs.

Singing thepatterns of healingThe Shipibo believe that our stateof health, both physical andpsychological, is dependent on the

SH WINTER 2005 31

Left:traditional

embroideredShipibo

textile bag

Below: atraditional

Shipibo chupaon mahoganydyed cotton

painted withhuito dye.

The designs atthe edge of the

textile representthe sacredAnaconda

balancedunion between mind, spirit andbody. If an imbalance in thisoccurs - such as through emotionsof envy, hate, anger - this willgenerate a negative effect on thehealth of that person.

The shaman will re-establish thebalance by chanting the icaros,which are the geometric patterns ofharmony made manifest in sound,into the body of the person. Theshaman in effect transforms thevisual code into an acoustic code.

A key element in this magicaldialogue with the energy whichpermeates Creation and isembedded in the Shipibo designs,is the work with ayahuasca by theShipibo shamans or muraya.

In the deep ayahuasca trance,the ayahuasca reveals to the

shaman the luminous geometricpatterns of energy. These

filaments drift towards themouth of the shaman

where theymetamorphose into achant or icaro. Theicaro is a conduit forthe patterns ofCreation, which thenpermeate the body ofthe shaman’s patient,bringing harmony in theform of the geometric

patterns which re-balancethe patient’s body.

The vocal range of theShipibo shamans when they chantthe icaros is astonishing; they canrange from the highest falsettoone moment to a sound whichresembles a thumping pile driver,and then to a gentle soothingmelodic lullaby. Speakingpersonally of my experience ofthis, it produced a feeling as ifevery cell in my body was floatingand embraced in a nurturing all-encompassing vibration, even theair around me was vibrating inacoustic resonance with the icaroof the maestro.

The shaman knows when thehealing is complete, as the designis clearly distinct in the patient’sbody. It make take a few sessionsto complete this, and whencompleted the geometric healingdesigns are embedded in thepatient’s body, this is called an

arkana This internal patterning isdeemed to be permanent and toprotect a person’s spirit.

Angelika Gebhart-Sayer,Professor of Ethnology, Universityof Marburg writes that ‘Essentially,Shipibo-Conibo therapy is a matterof visionary design application inconnection with aura restoration;the shaman heals his patientthrough the application of avisionary design, every personfeels spiritually permeated andsaturated with designs. Theshaman heals his patient throughthe application of the song-design,which saturates the patients’ bodyand is believed to untangledistorted physical and psycho-spiritual energies, restoringharmony to the somatic, psychicand spiritual systems of thepatient. The designs arepermanent and remain with aperson’s spirit even after death.’

Whilst it is not easy forWesterners to enter and engage withthe world view of the Shipibo, whichhas been developed far away from

SH WINTER 2005 32

Above: typicalShipibo painted

ceramic bowl

Right: Teresa,the Shipibo

craftswoman whohelps the author

when he takesgroups to visit

the Shipibo. Sheis painting onto

white cottonwith huito dye

using a steelnail as a brush

Inset: Thewife and

daughter of theshaman, maestro

Benjamin. Sheis wearing atraditionally

pattered,painted

fabric dress.

our linguistic structures andpsychological models, there is anunderlying sophisticated and complexsymbolic language embedded inthese geometric patterns.

The main figures in the Shipibodesigns are the square, therhombus, the octagon, and thecross. The symmetry of thepatterns emanating from the centre(which is our world) is arepresentation of the outer andinner worlds, a map of theCosmos. The cross representsthe Southern Crossconstellation which dominatesthe night sky and divides thecosmos into four quadrants,the intersection of the arms ofthe cross is the centre of the

universe, and becomes the CosmicCross. The Cosmic Crossrepresents the eternal spirit of aperson and the union of themasculine and feminine principles -the very cycle of life and death -which reminds us of the great actof procreation of not only theuniverse, but also of humanity, andour individual selves.

The smaller, flowing patternswithin the geometric forms are the

radiating power of the CosmicSerpent which turns thisway and that, betwixtand between,constantly creating theuniverse as it moves.The circles areoften a directrepresentation ofthe CosmicAnaconda, andwithin the circleitself is the centralpoint of creation.

The primal rhythmIn the Western tradition, fromthe Pythagoreans and Platothrough to the Renaissance, musicwas used to heal the body and toelevate the soul. It was alsobelieved that earthly music was nomore than a faint echo of theuniversal ‘harmony of thespheres’. This view of theharmony of the universe was heldboth by artists and scientists untilthe mechanistic universe ofNewton.

Joseph Campbell, perhaps theforemost scholar of mythology,suggested that there is a universeof harmonic vibrations which thehuman collective unconscious hasalways been in communion with.

Our beings beat to the ancientrhythms of the Cosmos. Thetraditional ways of the Shipibo andother indigenous peoples stillreflect this primal rhythm, and theirperception of the universal forcesmade physical is truly acommunion with the infinite.

Above: Shipiboceremonial potor Mahuetá

HOWARD G. CHARINGhas organised journeys

to the AmazonRainforest for the past

seven years to workwith the ayahuasca

shamans and thesacred ‘jungle doctors’(healing and visionary

plants) of this area. Hehas written numerous

articles about theAmazonian plant

medicines, and hasworked with some of

the most respectedshamans in the region.

He was baptised intotheir tribe by the

Shipibo Indiansin the Amazon

If you would like todiscover more about

this work, he conductsPlant Spirit Medicine

journeys to the AmazonRainforest working with

the Shipibo people.

Enquiries to Eagle’sWing BM BOX 7475London WC1N 3XX,

tel: (01273) 882 027,or website www.

shamanism.co.uk

Photos: ©Howard G. Charing

Above: Shipibo textiles.The one at the top of the

page showes the cosmiccross within the circle of

the Anaconda

Right: Painted Shipibotextile. As with all Shipibopaintings, they start in the

centre and the patternmoves out from this point.

The cosmic cross isagain at the centre

SH WINTER 2005 33

Los shipibo-conit peruana. Perteneo Ucayali y sus afluei JamayayYanna. Se no arriba el Conibc dos zonas, porque personas repartida

nes arqueologicas ha sido ocupada p

El grupo shipibo Dicen que sus ant< bianco como el shi

El primer europe

Reaparecen enro jo y negro sobre las paredes de una ceramica para tomar masato c tallados en la paleta de un remo. Aparecen de nu< disehos azulados de genipa en el rostro de la mujer. por disehos», dice una cancion shipibo.

El significado de los disehos casi se ha perdido. explique su simbolismo, ella sonrio y dijo que solo Ic

como telaraha en los fino< nundo entero esta cubiertc

>edir a una mujer que me itepasados lo sabfan. «Esta< las representan serpientes», viejita, «la boa misma no^

Artif

En los pueblos shipibo se encuentran arboles de ale proximidad de la casa fam\\\arr con sus flores rosadas

de color ro joy morado, ademas del bianco corriente sin embargo, en la mano de una aspirante, el hifo se r shipibo que la araha les enseho a hilar. A sus hijas re< muhecas telarahas para asegurar su habilidad como

Las mujeres pintan la tela tejida con los disefios sirr corto pincei de caha brava (shetan). Se trazan los disc oro, que se obtiene de un arbol. Luego cubren toda

Chitonte tima, Shipibo-Uvayali, c. 1920. Algodon, te j idoy pintado. 81 x 76 cm. Coleccion Sucesion Jimenez Borja. Museo de Artes y Tradiciones Populares. Inst. Riva Aguero, PUCF

el bermejo del achiote (mashe), el ama-rillo tornado de la rafz del guisador (con-ron) y el purpura que viene de la hoja de una planta (ami). Esos colores no son permanentes y hay que evitar lavar la tela.

La alfarena

La ceramica polfcroma del grupo shipibo destaca en Sudamerica por su be-lleza. Cuando morfa una mujer shipibo era costumbre quebrar sus ceramios para enterrarlos j un to con ella. Los arqueolo-gos han encontrado vinculos entre la ceramica prehispanica de Cumancaya (territorio actual de los shipibo) y las vasi-jas contemporaneas. Una mujer ceramista siempre escoge a una de sus nietas como aprendiz. A la edad de cuatro o cinco ahos la chica ira a vivir con su abuela para aprender el arte. Cada alfarera tiene su taller particular cerca de la casa, pero en un lugar apartado. Al l se encuentran piezas en todas las etapas de produccion. Hay que predsar que tradicionaimente un gran lote de ceramica era elaborado para la gran fiesta (Ani Sheati) que tenia lugar cada ocho o diez ahos. En un pueblo shipibo la vida de un ceramio es breve. Se rompe. Lo que no tiene mayor importancia para ellos pues mahana se puede fabricar otro para remplazarlo. De los muchos ahos que pase en el Ucayall nunca vi pieza ?que tuviera mas de un aho de antiguedad.

Chitonte quehueya, Shipibo-Ucayali, c. 1920. Algodbn, tenidoy bordado. 70 x 77 cm. Colec-ci6n Sucesi6n Jimenez Borja. Museo de Artes y Tradiciones Populares. Inst. Riva Aguero, PUCP

Tres colores, rojo (ocre), negro y crema figuran < grupo. Sin embargo, entre las tres zonas del Uca^ cias en su combinacion. Los disehos de los Conib delicados, especialmente alrededor del cuello de mundo celestial. Disehos curvilfneos, y bien espa fondo claro, evocador del mundo-cielo. Por el r predominan los colores rojo y negro. Los disehos dos con fuerza y determinacion. La Jinea princip deada de negro.

Dolicroma de ?s las diferer-ayali son ma: representa a acan sobre e Bajo Ucayal

ntes, ejecuta ilea, esta bor

EI t iempo nos vencio

El hombre shipibo tenia la costumbre de pelear con la macana, un palo de chonta largo de mas de un metro, con el que propinaba golpes en la cabeza del adversario. Hace poco un shipibo trajo una de las ultimas macanas verda deras adornada con sus disehos simbolicos y dijo: «Yo hice esta macana hace veinticinco ahos. He ayunado para darle mas poder. La hice bien dura para pe!ear». "iY peleaste?", pregunte yo, viendo en su rostro que algo le preocu paba. <(No", contesto el hombre triste, "el t iempo nos vencio. Vino la civiliza clonyya no habia tiempo para pelear. Todo se cambio».

Curadora

Cancion del curandcro de Cushushcaya

Joni chomo, Conibo-Alto Ucayali, c. 1950. 77 x 4 1 . 5 x 4 7 cm. Coleccion

Alfonso Cabrera Ganoza

Joni chomo, Conibo-Alto Ucayali, c. 1950. 78.3 x 48.5 x 52 cm. Coleccibn

Vivian y Jaime Uebana

Actividades complementarias en el marco de la exposition Una ventana hacia el infinito: Arte shipibo-conibo"

11, 12 y 13 deju l io de 10 am. a 12 m.

y de 5 a 7 pm. Demostracion de las tecnicas alfarera y textil shipibo-conibo

a cargo de maestros artesanos

15 de ju l io de 10 am a 1 pm.

Seminario: Tecnicas del arte shipibo-conibo (previa inscripcidn)

24 de ju l io 7 pm.

Conferencia: Arte shipibo-conibo a cargo de Felix Oiiva

7 de agosto 7 pm.

Conferencia: Simbolismo del arte shipibo-conibo a cargo de Carolyn Heath (curadora de la muestra)

.fC.de agosto 7 pm.

Presentacion del libro "Una ventana hacia el infinito: arte shipibo- conibo"

Del 10 de julio al 1 de setiembre del 2002

GALERIA GERMAN KRUGER ESPANTOSO http.V/icpnacultural. perucultural. org. pe

Av. Angamos 160, Miraflores. De martes a d o m i n g o de 1 1 am. a 8 p m .

the exquisite geometric art of the shipibo: catalogue

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