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  • ( intro music )

  • ( Peruvian flute )

  • Hiebert: National Geographic's relationship

  • with photography and Peru are all intertwined.

  • All of Peru,

  • unbelievable country of mysteries and surprises.

  • This is definitely one of the centers of civilization.

  • It's really incredible to be able

  • to look into the eyes of an ancient ruler.

  • This is the power of archaeology.

  • ( applause )

  • Hiebert: Thank you all for being here.

  • I want to talk to you

  • a little bit about being a representative

  • of National Geographic and working

  • in these great civilizations

  • and I like to bring storytelling

  • to these and I like to tell stories about heroes.

  • National Geographic's relationship

  • with photography and Peru are all intertwined.

  • I want to tell you that little story.

  • I actually want to start by telling you

  • a little bit about Peru.

  • It's extraordinarily photogenic.

  • This is a photograph by Hiram Bingham

  • who documented the high mountains of Peru.

  • This is really what makes Peru

  • one of the great centers of civilization,

  • is its geography.

  • The high mountains, the beautiful rich valleys

  • between the mountains and the coast.

  • The coastal deserts which were once

  • described in the pages of National Geographic

  • as being small Nile Deltas.

  • And in fact unlike Egypt that has 1 Nile River,

  • northern Peru has 20 of these deltas.

  • It's unbelievable you can have 1 foot

  • in the fertile delta and 1 foot in the desert.

  • This makes it an extraordinary place

  • for preservation and creation

  • of ancient civilization.

  • It's a place where archaeological sites

  • tower above the countryside.

  • This particular mound that you see in the front

  • is actually a Peruvian pyramid.

  • Here's an example of what one could imagine

  • that looked like in the past.

  • There are 20 such river valleys in northern Peru.

  • It's an outstanding, unbelievable relationship

  • and much of it has to do with the fact

  • that it is one of the largest, most productive coasts

  • along the pacific coast of the New World.

  • Its unbelievable culture, unbelievable country

  • and it's that geographic relationship

  • that we like to explain, helps explain

  • how Peru is a country that can both be described

  • as having over 10,000 archaeological sites

  • or as I like to say, "There's only 1 site in Peru,

  • all of Peru."

  • It is really, you walk the Inca Trail

  • and you really can't tell when you're

  • on a site and off a site.

  • The entire country from the north coast

  • to the south coast, from east to west,

  • It's unbelievable country of mysteries and surprises.

  • Now I'm actually going to start telling

  • this story a little bit before

  • the founding of National Geographic

  • because so many travelers and adventurers

  • have been attracted to Peru.

  • It's sort of mysterious and wonderful.

  • It's been attracting people for hundreds of years.

  • Its history goes back more than 3,000 years.

  • It has separate cultural traditions on the north coast,

  • the highlands,

  • and the south coast.

  • It's really phenomenal.

  • I have to take my hat off to yet

  • another set of incredible heroes.

  • Julio Tello, the father of Peruvian archaeologists.

  • He was from the highlands.

  • He really introduced the idea

  • of Andean civilization.

  • He began to study the cultures of ancient Peru.

  • He's one of the 1st researchers

  • to come up with that chronology.

  • He had a partner, Rafael Larco.

  • These 2 guys, they kind of fought over

  • where the heart and soul of Peru lay.

  • You had Tello, who was from the highlands,

  • who argued for temples and islands

  • and you had Larco, who came from the coast

  • he said, "Not, it is coast cultures"

  • and that debate continues to this day.

  • We all were fascinated by the mystery and culture

  • and we all thought that this site

  • which Tello worked at, that Larco worked at,

  • the famous temple of Chavín de Huántar.

  • It was really the heart,

  • the essence of Andean civilization.

  • It was so important

  • and it was so mysterious and so luxurious

  • that it actually became my introduction to archeology

  • and my introduction to South America.

  • I had the chance to visit--

  • ( laughter )

  • Well, okay, it wasn't last year.

  • All right so, you're looking at this statue,

  • you see this statue, right?

  • It's carved and beautiful 3,500 years old.

  • Oh, yeah, I was a hippie.

  • Once, a little while ago.

  • But that's Chavín de Huántar.

  • What an introduction to South America.

  • What an introduction to Peru,

  • to go visit a place.

  • What a way to get inaugurated

  • into the wonders of archaeology.

  • It's great and I became intrigued with the history

  • of all this exploration and who went and where.

  • We all sort of looked even further back

  • into the pages, "Who was exploring?"

  • "Who was caught with this mystery

  • of wonder of the archaeology and culture?"

  • I became enamored with this particular fellow,

  • Ephraim Squier.

  • He was a wonderful explorer

  • for the U.S. government.

  • He was sent as the commissioner to Peru

  • by none other than Abraham Lincoln in the 1860s.

  • This is how far the history goes back in this

  • and the wonderful storytelling.

  • As commissioner, he wrote

  • this incredible book called,

  • "The Land of the Incas,"

  • illustrated with 500 woodcuts.

  • Really, I mean, it was the artistry,

  • the magnificence, the wonder of this country

  • that attracted people.

  • These woodcuts were known and reproduced.

  • This was a very popular book

  • published in the 1877.

  • People were so desirous.

  • I became fascinated because there was

  • this photograph of Ephraim Squier

  • and being here at National Geographic

  • we're, naturally, very interested in photographs.

  • But you know, Squier,

  • he made these incredible illustrations

  • that are woodcuts in his book

  • and we assumed that he must

  • have had a photographic memory.

  • Look at this bridge, unbelievable.

  • You had to go to Peru to imagine

  • that something like that was real.

  • It was so exciting for me to see,

  • in a woodcut like this of Alto Peru

  • which is today on the other side

  • of Lake Titicaca but still part

  • of this greater Peruvian...

  • I became quite curious, being here at National Geographic,

  • "How did somebody record something like this?"

  • It was only recently and I was so excited

  • to be able to find the photo archives

  • that were the basis for the 500 woodcuts.

  • It shows the relationship between

  • photography and archaeology.

  • We have one of the great photographers

  • of National Geographic, Kenny Garrett, who's here,

  • who can attest to the fact

  • that photographing in Peru

  • is like photographing a wonderland.

  • It was amazing to see how beautifully

  • reproduced the photographs.

  • Here's one of the woodcuts from 1877.

  • Here's one of the newly discovered photographs

  • that Squier took.

  • He was not only an explorer,

  • he himself was a photographer.

  • I became intrigued with this aspect,

  • this relationship between

  • photography and archaeology.

  • I think it's critical to our understanding of the past.

  • Not only in Peru and Central America,

  • in Egypt and Greece, it's so exciting.

  • I became attracted to another one

  • of the greatest photographers who ever crossed into Peru,

  • Hiram Bingham.

  • Yes, Hiram Bingham is known primarily

  • for describing Machu Picchu, but do people

  • realize that he was an incredible photographer?

  • At that time, 1911 and 1912, being director of an expedition

  • meant that you were also the photographer.

  • He had this incredible camera created by Kodak for him

  • and he took these pictures

  • that were not just documentation

  • but were art themselves.

  • They were the 1st rock star archaeology project

  • in National Geographic.

  • His photographs really are incredible.

  • We have about 2,000 of these photographs

  • here in the photo archives and some day

  • we're going to do an exhibition

  • of the photo archives here.

  • It's just an incredible opportunity

  • to work with people like Bill Bonner,

  • here in the photo archives

  • and see exactly what the genius of photography is.

  • If you look at this picture

  • taken by Bingham of Machu Picchu

  • with the mountains and the cloud

  • and the local personality on the right hand.

  • It is such a story,

  • such a photographic essay in 1 picture.

  • It's really very, very inspirational.

  • He also documented the people of Peru.

  • For me, this is the real gift

  • that Hiram Bingham gave to Peru,

  • which is a wonderful photo record

  • of Peru and ancient Peru

  • and the people of Peru all living together.

  • What an inspiration for cultural heritage.

  • This isn't the only time

  • that we've photographed Peru and ancient Peru.

  • We've been at the forefront

  • and if we fast forward to really

  • one of the 1st color photos of an archaeological picture

  • published in National Geographic magazine,

  • it, of course, came from Peru.

  • This is William Duncan Strong

  • who in 1946 came to Peru

  • and after seeing all these wonderful artifacts,

  • came in hopes of finding

  • the 1st intact Moche burial.

  • Moche is a northern coast period in Peru

  • about 2,000 years old, very mysterious,

  • only known from the artifacts

  • and his intention was to come

  • and document an intact burial,

  • almost an impossible feat.

  • But, they found one on the coast

  • and to quote from the 1947 issue of the magazine,

  • Strong and Evans found this burial and everybody

  • was so excited.

  • They'd never seen an intact burial

  • from 2,000 years ago.

  • So, they opened it up and Evans said,

  • "I'm hungry, let's have lunch."

  • ( laughter )

  • I tell you, I love reading past National Geographics.

  • It's really great.

  • So, all of his workmen were sitting there confused

  • because they just found something

  • that had never been found before.

  • The next picture which was published

  • in the pages of National Geographic,

  • is the 1st time you are looking inside

  • of an intact Moche burial.

  • I think that this is something

  • that National Geographic has taken on

  • as a cachet in terms of telling

  • the stories of the ancient populations.

  • This is a unique picture,

  • "12 pots that have never been seen together in situ."

  • This documentation went around the world

  • in April 1947.

  • These 2 people, Strong and Evans,

  • became a hero of mine as we pursued this past.

  • Here's one of their color plates.

  • Now, these plates had to be specially

  • put into each one of the millions

  • of copies of National Geographic magazine.

  • We have even more advances in photography,

  • archaeology and the understanding of ancient Peru.

  • 1988, another intact Moche burial

  • from the north coast of Peru was found.

  • They gave a call to Walter Alva

  • and to Chris Donnan, 2 researchers

  • who were funded by National Geographic said,

  • "Please, let's go. Let's go."

  • We started to document these

  • in a way that I don't think archaeology

  • has ever been documented before

  • and this came out in an 1988 issue of the magazine

  • which just happened to be on the 100th anniversary

  • of National Geographic.

  • I don't know how that came about

  • but it's really incredible.

  • The 1st time to be able to look into

  • the eyes of an ancient ruler of Peru

  • and see the archaeologist at the same time.

  • To come up with this new way

  • to communicate, not only through photographs,

  • but through these iconic drawings.

  • This instantly became "the" classic model

  • for how archaeology is presented,

  • not only on the pages of National Geographic,

  • but in every textbook and all the way around the world.

  • I think it's really cool.

  • On the right-hand side,

  • you see the different layers

  • from the original coffin box

  • to the way the textiles were laid down

  • to the way the artifacts were laid

  • and to the way the body was put in.

  • Everything done in exquisite scientific

  • and artistic detail.

  • It became one of the cachets

  • of National Geographic and Peru.

  • These large scale photographs,

  • this is, I think, the first time

  • we had a centerfold in National Geographic.

  • This was a 3 page picture of this burial.

  • I don't know how they took this picture in 1988,

  • but it is so detailed and so incredible.

  • What it is for us who are looking

  • at the beautiful specimens in the museums

  • and the pieces of Peru

  • and the pieces you see on display,

  • it really gives us a key,

  • it allows us to have an, "Aha" moment.

  • When you go back to the exhibition

  • and you see things like a nose piece.

  • You say, "Aha!

  • Now I understand why it's there.

  • Now I understand why it means

  • something for ancient Peru."

  • Or, we see this beautiful turquoise pectoral

  • and we've just have seen it in the picture

  • of the Lord of Sipán

  • and we say, "Aha!"

  • "Now I understand were it comes from."

  • "Now I understand its cultural significance."

  • This is the power of archaeology

  • as presented in National Geographic.

  • I'll tell you one more story about the history,

  • and it's both a good and bad history.

  • Is that this wealth of Peru

  • has invited looters to come.

  • This is where professor Izumi Shimada works

  • and this is his photograph which he uses

  • to illustrate the fact that the archaeological site

  • where he works at

  • has somewhere, and he said he counted himself personally,

  • over 100,000 looters pits.

  • It's unbelievable.

  • It's from this site that we know

  • that this famous mask,

  • we call it the Italian mask at this point,

  • because it became known

  • that it was from Sicán.

  • We knew where it was from

  • thanks to the work of professor Izumi Shimada.

  • This piece, actually, the back story of it is,

  • as soon as it became known

  • that it came from a certain site in Peru,

  • it became a celebrity in Italy.

  • It was as well known as a movie star.

  • It was neat to see, archaeology, its portrait

  • was on the front pages of magazines.

  • Here's the president of Italy

  • with that handoff moment to ambassador Forsyth.

  • I think it's an incredible moment

  • of cultures, ancient cultures,

  • understanding one another.

  • It was Shimada's excavation,

  • Shimada and Carlos Elara,

  • director of the Sicán museum,

  • who really spent the time to understand that context,

  • digging down, down, down,

  • 20, 30 feet deep into the ground.

  • These are really heroic excavations going down

  • in hopes of being able to find the context

  • and telling the story.

  • In 1991 that dream for Izumi Shimada

  • started to come true.

  • He looked down and he saw something

  • that glittered, something that really

  • hadn't expected to see.

  • This is professor Shimada and you can see

  • the 24 feet of earth above him.

  • I asked Izumi today,

  • "Weren't you a little worried?"

  • He said, "No, we checked everyday."

  • "Not to worry, not to worry."

  • It was really incredible and there he found

  • this piece with its photographs

  • showing exactly how it was found in situ.

  • In a way, it reminds me so much

  • of Strong and Evans description

  • of the 1st Moche mask, the 1st Moche intact burial

  • written on the pages of National Geographic in 1947.

  • The thing about the Strong and Evans article in 1947,

  • there was a description but no photograph of the mask.

  • Here it is, magnificent ornamental

  • elaborate headdress that really shows

  • the power of the individual

  • and the power that gold exudes

  • and the importance that this material is in Peru.

  • Don't forget, in Peru, gold was never a commodity.

  • It was never traded for its value,

  • it was never stored as wealth.

  • It was always used to symbolize power

  • and that connection with the sun.

  • When you see it in its original cultural context

  • with the flames coming off

  • and the bursts and the incredible wolf-like animal

  • who professor Shimada has promised me,

  • whose tongue still wags back and forth.

  • ( laughter )

  • You understand that power.

  • Well, I'd just like to end

  • with a little bit about the way that National Geographic

  • and archaeologists continue to work in Peru

  • and continue to innovate in archaeology

  • but especially through the lens.

  • We're really happy to have on staff at National Geographic

  • some innovators in photography.

  • This is Fabio Amador who works

  • for the Waitt National Geographic Grant Program,

  • and his camera there is something really special

  • called the GigaPan and he is taking a picture,

  • this is just a few months ago,

  • at the famous site of Huaca de la Luna

  • and these murals, which have never really been

  • thoroughly documented,

  • but these type of advances in photography

  • and in the way we visualize the past,

  • they mean so much to archaeology,

  • to Peru, and to science.

  • Thank you very much.

  • ( applause )

( intro music )

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ナショナルジオグラフィックLive!- フレドリック・ハイベルト:ペルーの黄金 (National Geographic Live! - Fredrik Hiebert: Peruvian Gold)

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    稲葉白兎 に公開 2021 年 01 月 14 日
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