BGuthrie Photos: VA -- Richmond -- Virginia Museum of Fine Arts -- Old American

VA -- Richmond -- Virginia Museum of Fine Arts -- Old American:

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Copyrights: All pictures were taken by amateur photographer Bruce Guthrie (me!) who retains copyright on them. Free for non-commercial use with attribution. See the [Creative Commons] definition of what this means. "Photos (c) Bruce Guthrie" is fine for attribution. (Commercial use folks including AI scrapers can of course contact me.) Feel free to use in publications and pages with attribution but you don't have permission to sell the photos themselves. A free copy of any printed publication using any photographs is requested. Descriptive text, if any, is from a mixture of sources, quite frequently from signs at the location or from official web sites; copyrights, if any, are retained by their original owners.

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[1] VMFAOA_100530_001.JPG	[2] VMFAOA_100530_008.JPG	[3] VMFAOA_100530_016.JPG
[4] VMFAOA_100530_023.JPG	[5] VMFAOA_100530_031.JPG	[6] VMFAOA_100530_039.JPG
[7] VMFAOA_100530_047.JPG	[8] VMFAOA_100530_055.JPG	[9] VMFAOA_100530_062.JPG
[10] VMFAOA_100530_068.JPG	[11] VMFAOA_100530_073.JPG	[12] VMFAOA_100530_083.JPG
[13] VMFAOA_100530_094.JPG	[14] VMFAOA_100530_103.JPG	[15] VMFAOA_100530_110.JPG
[16] VMFAOA_100530_116.JPG	[17] VMFAOA_100530_124.JPG	[18] VMFAOA_100530_137.JPG
[19] VMFAOA_100530_150.JPG	[20] VMFAOA_100530_159.JPG	[21] VMFAOA_100530_164.JPG
[22] VMFAOA_100530_180.JPG	[23] VMFAOA_100530_187.JPG	[24] VMFAOA_100530_193.JPG
[25] VMFAOA_100530_202.JPG	[26] VMFAOA_100530_207.JPG	[27] VMFAOA_100530_217.JPG
[28] VMFAOA_100530_225.JPG

Specific picture descriptions: Photos above with "i" icons next to the bracketed sequence numbers (e.g. "[1] ") are described as follows:
1. VMFAOA_100530_001.JPG: Cree (Great Plains) Pipe, late 19th century
2. VMFAOA_100530_008.JPG: Western Great Lakes/Prairie Quilled Headdress, early 19th century
3. VMFAOA_100530_016.JPG: Micmac (Northeastern Woodlands) Birchbark Basket, early 20th century
4. VMFAOA_100530_023.JPG: Pomo (California) Coiled Gift Basket, 1900 Pomoan baskets were prized possessions among collections from 1890 to 1920, when the basket trade among European-Americans reached its height. To create their wares, Pomoan weavers used a wide variety of native grasses, roots, and brush that they separated into thin splits. Each split was moistened and coiled over willow rods that were the basket's foundation. Baskets adorned with feathers originally held a societal role of honor among the Pomoans and other central California peoples. Coiled gift baskets such as this were traditionally given to special persons within clans, but were later mass-produced in response to the high demand for Pomoan basketry by collectors. The plumes shown here most likely came from the acorn woodpecker or California quail. The basket is further trimmed with white clamshell disk beads, which were also used as currency in several parts of aboriginal California.
5. VMFAOA_100530_031.JPG: Pomo (California) Coiled Feather Basket, 1900
6. VMFAOA_100530_039.JPG: Zuni (New Mexico) Heartline Olla, early 20th century
7. VMFAOA_100530_047.JPG: Yokuts (California) Rattlesnake Dance Basket, 1900
8. VMFAOA_100530_055.JPG: Ancestral Zuni (New Mexico) Canteen, ca. 1850
9. VMFAOA_100530_062.JPG: Yupik (Alaska) Goose Landing Mask, 19th century
10. VMFAOA_100530_073.JPG: Tlingit (Alaska, Canada) Chilkat Blanket, 20th century
11. VMFAOA_100530_083.JPG: Tlingit (Alaska, Canada) Raven Battle, 1890
12. VMFAOA_100530_094.JPG: Tlingit or Haida (Alaska, Canada) Rattle, 19th century
13. VMFAOA_100530_103.JPG: Bella Bella (Canada) Eagle Mask, 19th century
14. VMFAOA_100530_110.JPG: Chavin style (Peru) Stirrup-Spouted Vessel in the Form of a Llama, 500 BC-100AD Llamas were revered throughout the Andes for both spiritual and practical reasons and, along with dogs and some species of birds, they were the only truly domesticated animals in the New World prior to European contact. Llama wool was used extensively for textiles long before sheep were introduced by Spanish colonists. Because of their natural habit high in the Andes, llamas were considered sacred creatures and were worshipped by the Inca as descendants of the gods in a fashion similar to the Hindu reverence for cattle.
15. VMFAOA_100530_116.JPG: Moche style (Peru) Vessel in the Form of a Warrior with Owl Mask, 200BC-200AD Moche artists produced what is perhaps the most sophisticated and refined versions of Peruvians stirrup-spouted vessels between 200BC and 700AD. Moche vessels occur in two distinct types: a globular, unmodeled version painted with narrative scenes; and a sculpted, polychrome variety depicted human, animal, and supernatural forms (naturalistic portraits of Moche individuals were common among this type). This vessel depicts a Moche warrior wearing a feathered owl costume and mask, probably designating him as a member of a specific warrior cult. The costume symbolizes the individual's spiritual association with this aggressive bird of prey.
16. VMFAOA_100530_124.JPG: Moche style (Peru) Stirrup-Spouted Vessel, 500 Rows of lima beans and images of "bean-warriors" appear on this Moche stirrup-spout vessel. These anthropomorphic combatants carry shields and clubs, and are adorned with helmets and ear spools. Lima beans were cultivated as early as 2000BC in the Andes and were a common staple in ancient Peru.
17. VMFAOA_100530_137.JPG: Moche style (Peru) Stirrup-Spouted Vessel in the Form of a Harelipped Warrior, 200-600 This Moche warrior wears a woven turban and has distinctive facial markings, probably tattoos. The depiction of a harelip, a congenital defect, underscores the degree of naturalism and individuality common to Moche portrait vessels. Together with the tattoos, the harelip reflects the elevated spiritual status of this individual.
18. VMFAOA_100530_150.JPG: Quimbaya style (Colombia) Figure of a Seated Man, AD500-1000
19. VMFAOA_100530_159.JPG: Colonial Inca (Peru) Qero, 17th century
20. VMFAOA_100530_164.JPG: Tiwanaku style (Peru) Poncho, ca. AD 900 Woven wool and cotton ponchos such as this example were worn with pride as a sign of high social and economic status. Images of stylized birds arranged in repeated bands not only created a pleasing visual effect by symbolically associated the wearer with the supernatural powers of flight and transcendence.
21. VMFAOA_100530_180.JPG: Nazca style (Peru) Tabard, AD400-700 Perhaps considered the most precious luxury item by ancient Americans, this masterpiece of Andean featherwork represents one of only three Nazca tabards known to exist. The name tabard applies to this garment because it was designed to hang straight down from the bearer's shoulders and was not tied or sewn a the sides, which allowed the feathers to hang freely and catch the light. The feathers on this tabard come from tropical Amazonian birds but the exact species of each feather is yet to be determined. Based on other known examples of Nazca and Wari featherworks, however, the blue and yellow feathers are probably from the macaw and the coral-colored feathers from the flamingo. The imagery on the tabard is not exactly known, but there appears to be depicted a six-legged supernatural creature with feline fangs and claws on the front of the garment. The other forms depicted are most likely marine creatures, resembling sea animals also seen on Nazca ceramics.
22. VMFAOA_100530_187.JPG: Nazca style (Peru) Bottle in the Form of a Seated Warrior, 200-500AD Nazca vessels frequently employed stirrup spouts similar to those used by contemporary Moche and earlier Chavin artists. Unlike those styles, however, Nazca ceramics were commonly painted in bright, polychrome slips, frequently in geometric patterns that imitated textiles. Warfare and human sacrifice are common themes in Nazca art. This vessel represents a Nazca warrior surrounded by images of trophy heads.
23. VMFAOA_100530_202.JPG: Colima area (Mexico) Male Figure Carrying a Maguey Heart, 100BC-AD250
24. VMFAOA_100530_207.JPG: Maya (Mexico or Guatemala) Funerary Vessel, AD700-800
25. VMFAOA_100530_217.JPG: Maya (Mexico or Guatemala) Funerary Vessel, AD600-800
26. VMFAOA_100530_225.JPG: Olmec (Mexico) Seated Figure with Harpy Eagle Crest, 1000-500BC
AAA "Gem": AAA considers this location to be a "must see" point of interest. To see pictures of other areas that AAA considers to be Gems, click here.
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