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拍品專文
For a variant, of similar size, see Sotheby’s (London), 15 Nov. 2002, lot 90 (£83,650).
'The eighteenth century was to see the construction of two new promenades in the Rímac area. ... the Alameda de Acho, sometimes called the Alameda Nueva, [was] a second tree-lined promenade running along the river towards the bullring. ... in the latter part of the of the eighteenth century and throughout the nineteenth, the complex formed by the three promenades was a select recreation for the capital's elites. ... Nineteenth-century paintings of people strolling in Rimac's promenades, such as the German Johan Moritz Rugendas' Promenade in the New Alameda (1842), feature females dressed in the saya de manto, the traditional street dress of Limeñan women from the early viceregal period down to the Republican era. The saya was an overskirt, worn tight at the waist and raised to show off feet and ankles. Throughout the colonial period the skirt was tight fitting, showing off the figure but making it difficult to walk; after independence it was replaced by a more comfortable flared skirt. The skirt was usually complemented by a shawl thrown over the shoulders. The manto was a thick veil fastened to the back of the waist; from there it was brought over the shoulders and head and drawn over the face so close that all was left uncovered was a small triangular space sufficient for one eye to peep through. Wearers of the outfit were known as tapadas (veiled women).
'The saya de manto was unique to Lima to the extent that, according to Ricardo Palma, it was not even worn in Callao. Moorish in origin, the manto allowed women to circulate freely around the city without fear of molestation. Yet if it was initially an emblem of female modesty, it came to serve a quite different purpose, functioning as a disguise that freed women from social constraints and allowed them to engage in playful flirting or to conduct secret liaisons, as Max Radiguet noted in the 1840s:
'The saya de manto, a costume which was originally designed to serve ideas of chastity and jealousy, has come through one of life's contradictions to act as cover for diametrically opposed customs; its uniformity makes the city one vast salon of intrigues and ingenious manoeuvres that mock the vigilances of the fiercest Othellos. ...'
'The colonial authorities made repeated attempts to ban the saya y manto as immoral but Lima's women refused to be dictated to in matters of fashion and it persisted until the second half of the nineteenth century.' (J. Higgins, Lima: A Cultural History, Oxford, 2005, pp.85-7)
'The eighteenth century was to see the construction of two new promenades in the Rímac area. ... the Alameda de Acho, sometimes called the Alameda Nueva, [was] a second tree-lined promenade running along the river towards the bullring. ... in the latter part of the of the eighteenth century and throughout the nineteenth, the complex formed by the three promenades was a select recreation for the capital's elites. ... Nineteenth-century paintings of people strolling in Rimac's promenades, such as the German Johan Moritz Rugendas' Promenade in the New Alameda (1842), feature females dressed in the saya de manto, the traditional street dress of Limeñan women from the early viceregal period down to the Republican era. The saya was an overskirt, worn tight at the waist and raised to show off feet and ankles. Throughout the colonial period the skirt was tight fitting, showing off the figure but making it difficult to walk; after independence it was replaced by a more comfortable flared skirt. The skirt was usually complemented by a shawl thrown over the shoulders. The manto was a thick veil fastened to the back of the waist; from there it was brought over the shoulders and head and drawn over the face so close that all was left uncovered was a small triangular space sufficient for one eye to peep through. Wearers of the outfit were known as tapadas (veiled women).
'The saya de manto was unique to Lima to the extent that, according to Ricardo Palma, it was not even worn in Callao. Moorish in origin, the manto allowed women to circulate freely around the city without fear of molestation. Yet if it was initially an emblem of female modesty, it came to serve a quite different purpose, functioning as a disguise that freed women from social constraints and allowed them to engage in playful flirting or to conduct secret liaisons, as Max Radiguet noted in the 1840s:
'The saya de manto, a costume which was originally designed to serve ideas of chastity and jealousy, has come through one of life's contradictions to act as cover for diametrically opposed customs; its uniformity makes the city one vast salon of intrigues and ingenious manoeuvres that mock the vigilances of the fiercest Othellos. ...'
'The colonial authorities made repeated attempts to ban the saya y manto as immoral but Lima's women refused to be dictated to in matters of fashion and it persisted until the second half of the nineteenth century.' (J. Higgins, Lima: A Cultural History, Oxford, 2005, pp.85-7)