Textiles Ingles
Textiles Ingles
Textiles Ingles
by
Denise Y. Arnold
with
Elvira Espejo
Freddy Luis Maidana
Arnold, Denise Y.
Weaving Life: The Textile Collection of the Museo Nacional de Etnografa y Folklore, following the productive chain.-Denise Y. Arnold; with Elvira Espejo Ayca and Freddy Luis Maidana Rodriguez. English translation by Denise Y. Arnold-- La
Paz: MUSEF, 2015.English edition.
500 p: 4 maps., 606 photos, 6 tables; 30 cm.
ISBN: 978-99974-853-6-6
D. L.: 4-1-234-13 P. O.
TEXTILES / PREHISPANIC TEXTILES / ARCHAEOLOGICAL TEXTILES / ANTHROPOLOGY OF TEXTILES
/ ANTHROPOLOGY OF CLOTH / ANDEAN TEXTILES / LOWLAND TEXTILES /ANIMAL FIBRES / PLANT
FIBRES / TEXTILE TECHNIQUES / SPINNING / DYEING OF TEXTILE FIBRES / NATURAL DYES / LOOMS /
BOLIVIA / PERU / CHILE / ANDES / AMAZONIAN LOWLANDS
CDD 677
WEAVING LIFE. The Textile Collection of the Museo Nacional de Etnografa y Folklore, following the Productive
Chain
BANCO CENTRAL DE BOLIVIA
Marcelo Zabalaga Estrada: President a.i.
Abraham Prez Alandia: Vice President
lvaro Rodrguez Rojas: Director
Rafael Boyn Tllez: Director
Reynaldo Yujra Segales: Director
Rolando Marn Ibaez: Director
lvaro Romero Villavicencio: Secretary
FUNDACIN CULTURAL DEL BANCO CENTRAL DE BOLIVIA
Roberto Borda Montero: President
scar Vega Camacho: Vice President
Gustavo Lara Trrez: Council Member
Orlando Pozo Tapia: Council Member
Nstor Taboada Tern: Council Member a.i.
Homero Carvalho Oliva: Council Member
Cergio Prudencio Bilbao: Council Member
Daniela Guzmn Vargas: Executive Secretary
Editorial rights: Musef Editores La Paz: Calle Ingavi 916, Telf.: (591-2) 2408640, Fax: (591-2) 2406642, Casilla Postal 5817,
www.musef.org.bo, musef@musef.org.bo Sucre: Calle Espaa 74, telf. and fax: (591-4) 6455293
Contenido
Weaving____________________________________________________________________ 67
The loom and its components
The vertical loom
The vertical A frame loom
The simple loom of rods
The horizontal and backstrap looms
Archaeological backstrap loom from the Andean coast, with a weft-faced weave
Archaeological backstrap loom from the Andean coast, with a warp-faced weave
Large vertical A frame loom from the Andes, with a warp-faced weave
Middle-sized vertical A frame loom from the lowlands, with an interlaced sprang weave
Small vertical A frame loom from the lowlands, with an interlaced sprang weave
Large vertical loom from the lowlands, with a liyi palla selected weave
Weaving instruments _________________________________________________________ 82
Archaeological loom instruments from the Andes: separators and selectors (wichua)
for tapestry weaves
Archaeological loom instruments from the Andes: selectors (wichua) for warp-faced weaves
Archaeological loom instruments from the Andes: general selectors for designs (wichua)
and separators of colour in layers (jaynu) for warp-faced weaves
Ethnographic loom instruments from the Andes: colour selectors (jaynu)
Weft shuttles from the Andes
Finishes ____________________________________________________________________ 92
Andean archaeological instruments for sewing and finishing: needles and bodkins
Lowland archaeological instruments for sewing and finishing: needles and bodkins
Guarding instruments ________________________________________________________ 98
Archaeological basketry from the Andean coast
Textile planning _____________________________________________________________ 99
Ethnographic instruments from the Andes for planning weaving designs and colours (waraa)
Textile products in the museum
Archaeological textiles _______________________________________________________ 105
The Central Andes
The South-Central Andes
Textiles histricos ___________________________________________________________ 225
Altiplano
Valleys
Ethnographic textiles ________________________________________________________ 257
Highlands
Altiplano
Valleys
Lowlands
Introduction to lowland textiles, by Denise Y. Arnold
Amazonian region
Chaco region
Transitional zone
Glossary __________________________________________________________________ 475
Bibliography _______________________________________________________________ 487
Sites mentioned in the book___________________________________________________ 495
General abbreviations
chap.
cm
Dep.
Dept.
Dia.
Dims.
equiv.
etym.
max.
NGO
Prov.
S
var.
TPX
Z
chapter
centimetre
depth
Department
diameter
dimensions
equivalent
etymology
maximum
Non Governmental Organization
Province
thread twisted in an S direction, when seen vertically
variant
Pantone Fashion system on the basis of textile colours on paper
thread twisted in a Z direction, when seen vertically
Language abbreviations
Ash.
Ava.
Aym.
Ayo.
Bol. Sp.
Car.
Cas.
Sp.
Fr.
Gua.
Dut.
Eng.
Iso.
Lat.
Map.
Niv.
Qu.
SC Sp.
Tar. Sp.
U-Ch.
Wee.
Yu.
Ashaninka
Ava-Guaran
Aymara
Ayoreo
Bolivian Spanish
Carib
Cashinawa
Spanish
French
Guaran
Dutch
English
Isoseo-Guaran
Latin
Mapudungun
Nivakl
Quechua
Santa Cruz Spanish
Tarija Spanish
Uru-Chipaya
Weenhayek
Yurakar
Acknowledgements
Many people have contributed to this catalogue in one way or another. Elvira Espejo, Director
of the Museo Nacional de Etnografa y Folklore (MUSEF), insisted on the importance of creating
such a catalogue, for the first time in the museums history. The personnel in MUSEFs Museology
Department helped us select and identify objects from their collections, and then carried out the tasks
of cleaning and re-labelling these pieces ready for the process of photographic documentation. We give
special thanks to Freddy Taboada, Head of Museology; Freddy Luis Maidana, curator of the Deposit of
Organic Objects; Varinia Oros, curator of the Deposit of Miscellaneous Objects; and Gustavo Suavi,
then curator of the Deposit of Inorganic Objects. Thanks, too, to Vernica Castro for her constant
help with the collections and their documentation. In the cataloguing process, the anthropologist
Aldo Bailey helped us during the first days. The help of the anthropologist Bernd Fischermann was
particularly indispensable in cataloguing textile objects from the Bolivian Lowlands, from his lifetimes
experience working in that region.
A team of photographers working under the direction of Joaquina Sandoval, in a project to
document photographically a large quantity of objects in MUSEFs collections, contributed early
photos from this documentation process, which we could then use to classify the objects. Later on,
the photographer and archaeologist Gabriela Escbar worked closely with us in the photographic
documentation for this catalogue. Thanks also to Elvira Espejo for contributing some of her own
photographs, to Lucila Bugallo for permitting us to include some photographs of woven artefacts from
the North-West of Argentina, and to Ana Mara Pino for having permitted us to photograph her herd
of alpacas in Puno.
The original data base to which we referred constantly in preparing this catalogue, and which
saved us a great deal of additional work, was developed by the research team in the Instituto de Lengua
y Cultura Aymara (ILCA) in the project Weaving Communities of Practice (No. AH/G102180/1)
financed by the Arts and Humanities Research Council (AHRC) of the United Kingdom, in coordination
with Birkbeck, at the University of London. During that same project, the research work developing
a more viable system of classification for Andean woven structures and techniques was carried out by
Elvira Espejo and Denise Y. Arnold. The categories of archaeological, historical and ethnographic sites,
together with woven styles, was developed by Denise Y. Arnold with the archaeologist Claudia Rivera,
and the basic hierarchies of woven forms and their equivalents in other languages by Denise Y. Arnold
with the lexicographer Efran Yujra. Claudia Rivera prepared the Table of Archaeological Periods. The
data base used for the preparation of the maps was also developed by the research team at the Instituto
de Lengua y Cultura Aymara. Many thanks to the Spanish art historian Miriam de Diego for working
with us on some of the reference textiles mentioned here. A special thanks to Anne Herzog, from the
Freie Universitt Berlin, for her help in identifying some of the textile motifs of regional flora and
fauna, during a studentship at the Instituto de Lengua y Cultura Aymara in March 2015. And thanks
also to Isabelle Combs for her help checking the provenance of some of the lowland textiles.
Thank you finally to the Committee members of the Fundacin Cultural del Banco Central de
Bolivia for its interest in the project of designing a catalogue of MUSEFs textile collection, and for
their help with the present edition.
Denise Y. Arnold
Elvira Espejo and Freddy Luis Maidana
Prologue
The contents of the catalogue Weaving Life: The Textile Collection of the Museo Nacional de
Etnografa y Folklore, following the Productive Chain, like its predecessor in Spanish, includes many
pieces which have not been seen by the public before now. These pieces include textiles and weaving
instruments from the archaeological period (ca. AD 600-1532), the historical period (1532-1900)
and ethnographic period (1900 to the present). It also includes pieces proceeding from the Andes,
the Pacific Coast and the Amazonian Lowlands. The present catalogue presents a new slant to these
materials by organising them according to the textile productive chain, and the operative chain of their
manufacture, like our current textile exhibition.
When we refer to the operative process of textile making, we refer not only to the logical sequence
of stages specific to the art of weaving, and replicated universally in all cultures. This operative process
also expresses the unique vision of each culture, its implication in a particular region, and the interaction
between the members of the societies that mark differences between groups, and which concede the
specific identity of an object produced in this way.
In addition, textiles form part of the social memory of each community of weaving practice.
Weavings embody specific moments in local history, and describe graphically political and social
changes. These dynamic processes are outlined in the organisation of this catalogue.
Furthermore, weaving technology and weaving techniques are conceived in the communication
and interaction between the members of a community of weaving practice, and vary according to
the surroundings and environment in which they live. Weavings from the Andean highlands are thus
different from those of the lowlands, reflecting these differences in their way of life, geographical
features and local resources. In many communities, weaving activities provide the principal source of
economic activity, and the referential axis for stratifying differences within a society, while providing
the vital link between regions, transmitting their uses and the knowledge implicit in their making both
vertically and horizontally across the varied terrain of these regions. The exhibition: Weaving Life. A
Focus on Textiles, which this catalogue accompanies, demonstrates these technological and sociological
implications, and reveals the varied ways traced out in the social life of those who practice weaving.
In practice, weaving develops a magical interaction between the weaver and his or her instruments
of work. Weaving produces a field of forces generated by the weavers bodily movements, and the
materials with which he or she works, giving rise to the sequence of actions and processes during the
various transformations of raw materials, and then the making of various kinds of fabric. Through
the art of weaving there develops an intimate relation between the weaving and the object made,
expressed in the unique rhythmic image that characterises the finished fabrics of each culture. In this
way, weaving, technique and object become fused into one single element. The woven object becomes
a harmonious result of the weavers bodily movements combined with the manual movements of the
weaving tools. This result expresses the characteristic three-dimensional nature of cloth.
Introduction
Denise Y. Arnold
When we started preparing this catalogue, little work has been done in Bolivia on the museological
aspects of textiles from the Andean and Amazonian regions of the country, and still less in a
contextualised sense, taking into account the social life of its regions. Neither was there an adequate
link, within Bolivian archaeology, between museum collections and national research into textiles, and
this discipline is only recently showing an interest in this theme. And although there had been certain
advances over the past decades within anthropology and the history of art into the study of textiles,
this had not produced a renovation of ideas in theory or in practice, aplicable to the organisation of
textile exhibitions.
In the present volume, in coordination with the Museo Nacional de Etnografa y Folklore, in La
Paz, we decided to remedy this situation by proposing a new focus towards the woven objects located
in the museum deposits, this time centred on making these textiles within the productive chain of
weaving, taking into account the social life of the weaving communities of practice in the region, and
in addition the social life of textiles as both objects and subjects. We considered it necessary to adopt
this approach for various reasons:
First, museum collections are notoriously decontextualised. In only a very few cases, do we know
with any confidence the provenance of a piece, its region, period or cultural affiliation. Knowing at
least the processes in its making helps us contextualise better an object, and understand the relations
between its component elements during its construction. Previously it was sufficient to say that a
textile had a certain colour. Now we could say in the catalogue that the colour of a textile had been
introduced through dyes of a certain nature (by natural fibre tone, or a natural or artificial dye). And we
could identify the processes in the construction of the woven object, by identifying the combination of
structural components (the basic elements), added components (the majority of which are sewn on to
the structural component) and extended components (a fringe for example).
Second, textile-making historically has demanded the development of one of the most complex
productive chains in the world. It is not a coincidence that the very complexity of this chain has served
as the model for the development in Japan of the automobile industry and the industrial production
of paints during the early twentieth century (Arnold and Espejo, 2013a: 38-40, 80).
Third, a weaver does not work in isolation, but within the complex networks set up between
different communities of weaving practice. These communities of practice, in turn, have been able
to generate links historically with the wider access networks to raw materials that make up regional
productive chains of weaving production.
Fourth, the practices of textile-making depend on the availability to weavers of a range of
technological and technical elements that have their own histories and processes of development.
Knowledge of the productive chain thus includes knowledge of historical developments in loom and
instrument technologies, and of regional weaving structures and techniques used over different periods.
Weaving terminology
In this catalogue, we use the terminology for weaving structures and techniques we have developed
in previous publications, and which is closely based on that used by weavers themselves in the Andean
region, particularly in relation to warp-faced weaves (Arnold and Espejo, 2010, 2012a, 2013a, 2015).
This is often quite different from conventional weaving terminology used in the English-speaking
12
world, where the technical history of weaving, and the predominance of plain weaves, results in a
tendency to speak about a woven web formed by the combination of a single and continuous warp and
a single and continuous weft (Arnold and Espejo 2015: 26). In the Andes, the technical complexity
of warp-faced weaves has resulted instead in a terminology that distinguishes between each distinct
warp and weft layer.
So in the case of warp-faced weaves, by structure we refer to the quantity of warp bouts, or
loopings of the warp threads in a figure of eight across the horizontal loom bars, which may be from
1 to 8. Simple structures are of 1-2 warp bouts, whereas complex structures are from 3-8 warp bouts.
By technique, we refer to the forms of selection and counting of the warp threads before each passing
across of the weft thread. By contrast, in the case of weft-faced weaves, the structures are all simple
(warped in one), and technique refers to the patterns of tapestry and other weft-faced weaves in open
plain tapestry or weft interlacing, slit and non-slit, and dove-tailed techniques. In the case of sprang,
and mesh or netting techniques, we use a conventional terminology. See figures 1-1, 1-2 and 1-3.
The textile productive chain includes various major processes, and within these a number of
minor processes (Arnold and Espejo, 2010). See figure 2. Beginning with the initial stage of obtaining
regional resources for textile making, which are not immediately at hand, the two main routes for
access to these are by processes of gathering (through visits to other regions where these resources are
available) or alternatively through a series of activities which facilitate the generation of these resources
at a local level. Gathering activities include those of the preparatory elements, such as dyes (whether
dye plants, insect or mineral dyes), as well as of the pots needed for the dyeing processes, and the sets
of loom and weaving instruments necessary for the processes of textile making. In the past, and in
many localities until now, there is also a range of activities directed towards obtaining fibre, whether
from wild animals or, in the case of valleys and lowland sites, of vegetable fibres from wild plants:
palm, pina or pia fibre from the Spanish red pineapple (Sp. garabat, caraguata; Ayo. doequenejanie;
Lat. Pseudananas sagenarius), amaibo, bis, the wild fig etc. Regarding the local generation of resources
needed for the textile productive chain, these activities include the cultivation of dye plants, the
management of orchards of cactus which house the various species of cochineal, the cultivation of
vegetable fibres such as cotton, and the rearing of animal herds that produce fibre.
These diverse practices oriented towards the generation of regional resources suitable for textile
making should not be understood in an extractive sense, but rather as part of a system of relations
between the communities of weaving practice and their surroundings. Within the local terminology
of these relations, regional resources are not perceived as objects, in the sense of raw materials to be
transformed by a series of later actions, but more as the affordances described by Gibson (1979: 12743) in the sense of the resource possibilities offered by a place, in this case oriented towards weaving
activities, to which regional populations respond, and which they care for in their daily lives (Ingold,
2011: 11). As Gabriel Martnez (1976, 1989) remarked in relation to plant cultivation, the Aymara
verb uywaa, passing into Andean Spanish as crianza, implies rearing and caring for in this way.
Vernica Lema (2013a, after Haber, 2006) describes crianza as a sense of cultivating, protecting,
nourishing, and sheltering (see also Rengifo Vsquez, 1999: 132). Caring for in this broad sense
is carried out not only in the practices of plant cultivation (Lema, 2013b) and the care of animals
(Bugallo and Tomasi, 2012), but also in the ongoing caring relations between humans, and between
humans and non-humans (see also Haber, n.d.). For Lema (ibid.), these rearing practices constitute the
grammar of sociability throughout the Andes, while providing a frame of reference for understanding
the relations with their surroundings among indigenous South American societies.
Lema, like Dransart (2002) and others, contrasts this regional notion of mutual caring for with
the quite distinct term domestication, used at an academic level to refer to a sense of dominion
or control, and in which the idea of something domesticated also implies something uniform,
13
predictable and singular. Although these meanings are common in Western thought, and in an
outsiders perspective analysing the natural world, in a large part of the Andes, reference is made instead
to an ecosophy of relations with the environment that generates practices far removed from those we
associate with the term domestication. So despite having achieved stability in certain phenotypes of
fibre animals in the historical past through the process known as domestication, many of these same
practices of rearing fibre animals in relation to their surroundings still continue at an everyday level.
They occur in the multiple processes of selection in the contemporary practices of herd rearing,
especially in mating practices (by colour, form and size) and, in general, in the daily activities of living
together with these animals. It is well known that the attention by regional herders towards a controlled
and selective crossing takes into account certain characteristics of the maternal lineages of the animals,
specifically the quality and type of fibre (its length, fineness, and resistance), as well as the colour and
general phenotype of the male sires (Arnold and Yapita, 1998: 100; 2001: 81; see also Flores Ochoa
comp., 1977, and Palacios, 1988, in the case of Peru; Dransart, 2002, in the case of Chile; and Gbel,
2001, for North-West Argentina).
TABLE OF WEAVING STRUCTURES AND TECHNIQUES, WITH TERMS IN AYMARA AND QUECHUA
MESH
Techniques
mesh net
Structures
WEFT-FACED WEAVES
plain
open
slit
ladder
Aym. &
non-split/
with
plainweave
Qu.
interlocking/
supplementary Aym. ina
k'uthu
dovetailed
wefts
Qu. siq'a
Aym.
etc.
patapata
Qu. qata
WARP-FACED WEAVES
complementary
Aym. payata
Qu. iskaymanta
selected
(floating
threads)
Aym.
palla
Qu.
pallay
reselected
double
(supplementary
cloth
threads)
Aym. t'isnu
Aym. ajllia
iqanta
Qu. aqlliy
Qu. kurti
1 element
warped in 1
Aym. m tilata
Qu. ujmanta
allwisqa/tilasqa
warped in 2
Aym. p tilata
Qu. iskaymanta
allwisqa
warped in 3
Aym. kimsa tilata
Qu. kinsamanta
allwisqa
warped in 4
Aym. pusi tilata
Qu. tawamanta
allwisqa
warped in 5
Aym. phisqa tilata
Qu. phisqamanta
allwisqa
warped in 6
Aym. suxta tilata
Qu. suxta
allwisqa
warped in 7
Aym.
pqallq tilata
Qu. kuraxmanta
allwisqa
warped in 8
Aym.
kimsaqallq tilata
Qu. qanchis
allwisqa
Techniques present in the MUSEF Collection
Non-existent techniques
Existing techniques, which are not in the MUSEF Collection
Fig. 1-1 Table of weaving structures and techniques in warp- and weft-faced weaves, with Aymara and Quechua terms. Source: Arnold and Espejo (2013a: 35, fig. 0-3).
14
TECHNIQUES CARRIED OUT WITH A SIMPLE LOOM
BASICS
crossed
warp with
1 weft
Aym.
tirinsa
Qu. watu
T1 T2 T3
WEFT-FACED WEAVES
transposed
warp
with 1 weft
transposed
warp with
multiple
interlaced
wefts
by
unit
by
unit
by
group
by
group
WARP-FACED WEAVES
plainweave
Aym. ina sawu
Qu. siq'a
awasqa
plainweave
plain
open
ladder
warp
and
weft
crossing
warp manipuLation
with
Aym.
Aym. &
discontinuous discontinuous
slit non-slit supplementary plain balanced
patapata
Qu. k'uthu
warp
warp and weft
weft
Qu. qata
intercaLated
colours
plainweaves
colour in
rows
Fig. 1-2. Table of simple techniques in weft- and warp-faced weaves. Source: based on Arnold and Espejo (2013a: 35, fig. 0-4).
Aym. liyi
1|1
2|1
palla
Qu. liyi Aym. maya palla Aym. ch'ulla palla
pallay
Qu. uj pallay
Qu. ch'ulla pallay
paired
warp
by basic units
Aym. palla
2|2
Aym. paris palla
Qu. paris pallay
by pairs
manipulation
of colour in
layers
Aym. &
Qu. tika
Qu. pallay
3|3
4|4
by unit
by fours
reselected /
supplementary threads
Aym. ajllia
Qu. aqllisqa
double cloth
Aym. t'isnu
iqanta
Qu. kurti
by group
Fig. 1-3. Table of advanced techniques in warp-faced weaves. Source: based on Arnold and Espejo (2013a: 35, fig. 0-5).
various
various
various
15
THE TEXTILE PRODUCTIVE CHAIN
STAGE (PROCESS)
MAJOR PROCESS
OBTAINING REGIONAL
RESOURCES
Generation of regional resources
SUB-STAGE (PROCESS)
Collecting dyes
Collecting dye pots
Collecting looms/instruments
Collecting fibre from wild animals
Collecting fibre from herd animals
Collecting vegetable fibre
Cultivating dye plants
Cultivating insect dyes (cochineal)
Cultivating vegetable fibre plants
Rearing fibre animals (domestication etc.)
Managing pastures
Managing water
Conversion/preparations of dyes
Conversion/preparations of mordants
Shearing of animal fibre
Cleaning fibre
Removing bristle hairs/disentangling
fibre
Fibre selection
Spinning
Plying
Braiding
Winding into skeins
Dyeing
Washing post-dyeing
Winding into balls
Warping up
Weaving
TEXTILE MAKING
TEXTILE SOCIALIZATION
Finishing
Guarding instruments
Textile planning
Learning
Exchanges with textiles
Dressing
Gender relations and cloth
Circumstances of use
TRANSFERENCES
VALORATION PRACTICES
TEXTILE PRODUCTS
Tautening
Application of the structure
Applying techniques
Applying iconography
Sewing
Finishing off
Collection by archaeologists
Transference of custody
Cultural reflection practices
Museum practices
Juridical practices
Archaeological products
Historical products
Ethnographic products
Uses in commensality
Daily uses
Ritual or ceremonial uses
Sumptuary uses
Uses in tributation
16
The practices of animal rearing also include a series of associated activities concerning the
management of regional waters and pastures, which assure that the herds have access to sufficient water
and pasture to generate fibre of the quality desired for the activities of textile making. Other processes
of selection are directed towards the generation of beasts of burden and that of meat provision.
Apart from the interrelated practices of rearing animals and of responding to the demands for
regional provision in fibre and meat, and the importance of caring for these elements over long periods
of time, the preliminary stages of the textile productive chain include the processes of preparing
ingredients such as the dyes and mordants for the dyeing processes, whether by chopping, grinding,
macerating or fermentation.
In the case of animal fibre, the later stage of working directly with this fibre includes the processes
of shearing, then of cleaning the fibre, removing the bristle hairs and disentangling the fibre, and the
accompanying manual activities of teasing out the fibre to make it more malleable. After this come the
processes of fibre selection, sometimes with its separation into distinct piles according to its quality,
fineness and colour, destined for different uses. The processing of plant fibres entails similar stages.
Within the same stage of working with fibres, there follow the processes of spinning, plying and
braiding the fibre to create threads appropriate for the tasks to come. Among weavers in the region, it is
common to refer to fibre spun manually in this way as caito (from qaytu in Quechua), in the English
sense of worked yarn, while thread (Sp. hilo) refers to material spun industrially, for example from an
acrylic material or from cotton.
Once the yarn or thread is created, there follows the task of winding it into skeins, through
manual, semi-industrial or industrial means, in the skein-making processes. Counting with the thread
in the form of skeins facilitates the processes of washing before the dyeing processes, mainly to remove
the natural grease, and then the dyeing processes proper, above all by immersion in water. There
follows the process of washing post-dyeing, to remove any excess of chemicals still present in the fibres,
and finally that of winding the threads into balls, in order to store the fibre in this form.
Once the yarns are wound into balls, textile making as such can begin. This stage includes the
processes of warping up, weaving as such and finishing. Finishing, in turn, includes the separate
processes of finishing by sewing, in making the joins, seams, selvedges, and folds in the construction
of the woven product, and the distinct techniques of finishing off the woven borders, for example in
blanket stitch or cross-knit loop stitch.
The auxiliary activities of textile making include those of guarding the loom and weaving
instruments, whether in baskets, braided or woven bags, appropriate to the region, which tend to
reflect the relative degree of the weavers mobility during their daily activities (Arnold and Espejo,
2013a: 108-111). On the coast and in the valleys, where there are fewer animals to look after, weaving
instruments tend to be guarded in baskets or bags made with plant fibres (Aym. tapichu), while in
the highlands woven bags or carrying cloths (Aym. awayu) tend to be used for this purpose. Larger
containers are used to guard the horizontal looms poles, while smaller containers are used to guard the
smaller elements: ropes, dyes, balls of wool, needles and separating rods, and the selecting rods (called
jaynu in Aymara and chijlana in Quechua) or the llama-bone picks (called wichua in both languages).
Apart from the weaving instruments and containers used in the processes of warping up, weaving
and finishing, especially the archaeological examples, there is a supporting set of instruments used in
textile planning, whether in the wooden models used in coastal civilizations, or the models used for
planning designs and colour combinations called in Aymara waraa and in Quechua yupana, used on
the coast and in the highlands (Arnold and Espejo, 2013a, chapter 4). The models used to plan designs
17
are called in Aymara salta waraa and in Quechua pallay yupana or saqa, while those used to plan
colour combinations are called in Aymara musa waraa and in Quechua away yupana.
On finishing a woven product, these now enter into circulation in any particular society, in a
process that we call the social life of textile (cf. Appadurai, 1991). A vital part of this stage are the
processes of socialising weaving, whether in the regional practices of learning to weave, organised by
divisions into sex and age groups, and the series of exchanges between weavings and other products,
in different regions. The social life of textiles also includes the practices and norms of dressing, again
with its divisions by gender and age, and the circumstances of their use, whether for daily wear, ritual
or ceremonial use, festive dress, sumptuary dress, didactic uses, or those concerned with commensality
(daily eating or else feasting and banqueting) and tributation.
In regard to the classification of textiles that we use in the present catalogue, we identify woven
products according to various criteria. One of these is the form of a textile (in the sense of a tunic, a
belt, a carrying cloth that doubles as a womans mantle, or a mans poncho), and the sub-class of which
these categories are a part, according to the detailed ontological analysis we carried out previously into
these forms (Arnold, in press). While we attempt to include a wide range of woven forms in this
catalogue, there are several omissions, such as the woven khipus, mats and carpets, to name a few, as
well as headgear and many other types of garment, all of which require separate studies (see figure 3).
In the descriptions of these forms in this catalogue, we summarise their technical characteristics
using the terminology we developed previously in the book Ciencia de tejer en los Andes (Arnold and
Espejo, 2012a, now in English as The Andean Science of Weaving, 2015), and their compositional
criteria, using the iconographic analysis we developed in the book El textil tridimensional (Arnold
and Espejo, 2013a, chap. 6). In the case of ethnographic textiles, each region has developed its own
terminology for the units of composition in the woven iconography, in its own languages: Aymara,
Quechua, Uru-Chipaya or the many languages of the Bolivian lowlands. In the case of textiles from
the Andean highlands, we opted for a universal terminology, understandable to those unfamiliar with
the local terms of any particular region. We simply respect the regional language when we define an
awayu in an Aymara-speaking zone, or a llijlla in a Quechua-speaking zone, or in defining an inkua
(or unkua), a term used more generally across extensive areas, in comparison with a tari, a term
restricted to the Province of Pacajes, and the historical region known by this name. Note that in the
original Spanish text, we hispanicized many terms, such as acso, ahuayo, incua, lliclla, unco, vichua,
yauri etc., whereas in this English version we return to the original terms in the regional languages.
With reference to the iconography of warp-faced weaves, we speak about the compositional units
generated by particular woven structures and techniques. In the case of female garments, the plain
monochrome areas we call pampa, following regional custom, whereas in the case of male garments,
the equivalent area, particularly in the poncho, we call saya. The greater and lesser figurative areas are
called in Aymara palla and in Quechua pallay. Within these broader areas, we describe the major
design bands (the jacha salta, jatun salta or chawpi pallay in the regional variants), followed by the
intermediate design bands and the lesser design bands, depending on their relative size in the woven
composition as a whole. The lesser design bands are those described by weavers as accompanying the
major design bands to either side of a particular garment, what tends to be called a frieze (Sp. friso) in
other studies (see for example Lpez et al., 1992: 89).
The various sizes of the coloured woven stripes (Sp. lista or franja), we call simply narrow stripes
intermediate stripes and wide stripes, according to their scale in the overall woven composition,
although we are conscious of the wide range of regional names for these stripes, depending on their
meaning in a particular textile (kuriqa, siqsu, taniqa, jalsu, jalaqa, tini). Similarly, we speak about a
woven border (called espera in Spanish, or by some other regional term such as tirja or tiphana). And
18
we speak about the woven border finishes as those of a tubular or flat edging (called ribete in Spanish,
sawukipa in Aymara and awakipa in Quechua) or alternatively with a crocheted finish (Sp. al gancho,
and pitakipata in Aymara).
By comparison, in the case of weft-faced and particularly tapestry weaves, we consider that
the application of different structures and techniques from those of warp-faced weaves produces
compositional units that are also distinct. So, in these examples, instead of referring to the plain
monochrome areas as pampa, we refer to the precise form in the woven composition (a square, rectangle,
line and so on). Similarly, we describe woven motifs by their specific names (when these are known),
and by their relation to the overall woven composition. The reader should consult the Glossary of
terms at the end of this volume for greater detail about weaving terms in regional languages.
It is in the naming of particular elements in the woven construction and in the woven composition,
that we become aware that, for weavers, their textiles are not simply objects to be viewed objectively,
but rather subjects, living beings that become incorporated into a family, or distributed to loved ones
(Arnold, 2000; Arnold and Yapita, 2006). The naming of the parts of woven borders, the plainweave
monochrome pampas, the design bands with their motifs and accompanying stripes, all make allusions
to the region and its resources in which they were made, whether the highlands, valleys, lowlands
or coast (Arnold, 2012a). This is why weavings also serve a household as important documents, to
define and map the territory of which they form a part, lay out in their designs the crops they plant
or gather and harvest, and the animals they rear, as well as the wild animals that they come across in
their journeys through their surroundings. The pathways of these journeys, too, are manifested in the
woven designs.
Other classificatory criteria we use for organising the textiles in this catalogue is by period. Here
we differentiate between archaeological textiles by period and chronology (with dates from 2000
BC to AD 1535), and the post-Conquest historical textiles, which might now show more hybrid
characteristics between regional traditional forms and Spanish introductions (from AD 1535-1900).
These historical textiles are also identified by different periods: with those from the Early Colonial
Period (1535-1780); the Late Colonial Period (1780-1825), the Early Republican Period (1825-1900)
and the Late Republican Period (or Ethnographic Period, from 1900 to the present). See figure 4. The
third criteria we use is by region, related to woven style (and sub-style) and cultural affiliation.
In the case of highland textiles, we document these on the basis of their geographical region,
within the South-Central Andes (as Altiplano or Interandean Valleys) and according to the historical
regions associated with specific populations (Charkas, Qharaqhara, Omasuyos, Pacajes). In relation to
the matter of colour, for questions of time, availability and ease of use in a Bolivian museum setting,
we register these in terms of the range of textile colours in the Pantone system (noting the Pantone
code and the colour name).
We add to this system our own colour name (after the Pantone code), according to our own
experience in the use of the natural fibre tones (animal and plant), natural dyes applied to fibre, thread
or fabric (from animal, vegetable and mineral sources), and artificial dyes and colours (mainly those
from aniline sources). This gives as an approximation to the identity of a colour we find in a specific
textile, and by adding details about the colour saturation (in dark, intermediate or light hues), we can
also take into account the approximate number of immersions in a particular dye, especially when
we see the recurrent use of certain tones in a particular textile. However, we are conscious of the
limitations of this system, and above all of the possibilities of changes in colour over time, or when
textiles are taken from the museum deposits to be displayed in the exhibition halls.
In the documentation of lowland textiles, we use as a point of reference the geographic and
ecological regions, combined with the characteristics of the indigenous peoples in each region, and the
materials they tend to use in textile making.
19
In the case of both highland and lowland textiles, we found it useful to refer to the present mapping
of these regions, combined with the political and territorial divisions of Bolivia by departments and
provinces, with reference to the map created by Fabin Yaksic en 2004. See figures 5 to 8.
In terms of the circulation of weavings in different societies, in the stage we call the social life
of textiles, it is important to consider the life cycle of a textile as such. In Andean textile production
some generations ago, most weavings were produced as part of the domestic and family cycles, and
possibly as part of the wider life cycles of communities and ayllus (in the case of making attire for the
ancestral mummies, and later on of the patron saints). In these contexts, woven products were destined
to a particular user during their lifetime. And when this user finally died, the textile was burnt in the
funeral rites, or thrown onto a rubbish heap and forgotten. Alternatively, if it was a special garment, it
might have been buried with the corpse, or combined into a family bundle of valued weavings, as an
important part of social memory or as the inheritance of a particular lineage. Other special textiles (of
the ayllu authorties for example) would continue is use until they disintegrated completely.
But this was not the final death of this textile. It could possibly pass on later into the hands of
grave-robbers, or be excavated in the hands of archaeologists and later on passed into the hands of a
museum collection, at a local, regional or national level, in a second cycle of life, now as a cultural
item for contemplation, as in the examples of the present catalogue of the textile collection at MUSEF.
These processes of changes of location of a textile we call processes of transfer. When a textile is passed
from one owner to another, or from one museum to another, we call this process a transfer of custody.
These processes of transfer are evident in the entries in this catalogue, in the subordinate entries
concerning bibliographic references to similar objects in other museum collections at a global level,
and in the lists of reference textiles that refer even more specifically to certain woven objects with a set
of common characteristics to the main object (in terms of structure, technique and iconography). In
these subordinate entries, we become aware that each textile is in fact part of a wider corpus of similar
objects, made in a particular region and period. In some cases, the specific object might even form part
of a family of similar objects. This occurs, for example, when a particular museum holds a fragment of
a larger piece, whose other component parts have become distributed throughout different collections,
and possibly throughout different countries.
These reflections on the contextual aspects of woven objects form part of the processes concerning
the value given to specific pieces in museum collections. These processes of valuing textiles include the
practices of cultural reflection, for example those that see the importance of producing a catalogue
such as this one. They also include museological practices, for instance those in MUSEF of receiving,
registering and cataloguing their objects (textiles, looms and weaving tools), which we in turn have
been able to explore in more depth in our analysis throughout this catalogue. Among the museological
practices of giving value to certain textiles we might include making the notes after each entry concerning
the relevant bibliography and reference textiles. As mentioned above, these notes covering details
about a reference textile (in the MUSEF collection), and references to such textiles in an international
bibliography, can help curators identify with more precision the provenance of a particular piece, its
period of production, and any relevant objects in other museum collections that have some relation to
the original piece. These processes attributing value to specific textiles include the juridical practices of
making laws and norms at a regional, national and international level which assure the protection of
such objects, now registered, as part of a worldwide material and immaterial heritage.
With these points, we close our review of the principal stages of the textile productive chain, and
pass on to examine the woven objects themselves.
GARMENT
PART
MINIATURE
FRAGMENT
FARMING
OBJECT
Bag
General accessory
Farming bag
Fragment of aksu
Fragment of band
Fragment of bag in
general
Fragment of belt
Fragment of mantle
Fragment of panel
Fragment of tunic
Harness gear
Ritual bag
Everyday bag
Cravat
Fragment of bag-chuspa
Saddle-bag
Girth-strap
Sack
Wide belt
Belt-bag
Belt (some have ties)
Double belt
Mortuary belt
Headband
Headdress
Cloth headdress
Hammock
Hanging
Strap for sitting
Textile for domestic
use
Bed convering
Mesh mattress
Table furnishing
Tablecloth
Accessory
Unknown fragment
Tunic in miniature
Tassel (part of a
bag)
Known fragment
Woven farming
implements
Wincha
Chuqaa
Ceremonial bag
Personal bag
Rucksack
Bag for the dead
Bag for the tobacco and coca complex
Meshwork bag
Festive cravat
Net bag
Tubular bag
Bag-chuspa
Ceremonial bag in general
Ceremonial bag for maize
Ceremonial bag for llamas
20
Exterior garment
Minor exterior
garment
Principal exterior
garment
GARMENT
Intermediate
exterior garment
Exterior garment in
general
Inkua
General tunic
Female dress
General llijlla
Modern awayu
General awayu
Closed tunic
Open tunic
Aksu
General iskayu
Short skirt
Loin-cloth
Rectangular tunic
Poncho
Modern aksu
Half aksu
aaka with shot effect
Ponchito
red saya
green saya
natural colours
fringe
natural-coloured
Poncho with
Poncho with
stripes
Poncho with
(vicua)
Poncho with
Poncho with
21
Chronological sequence
Argentina
Late Republican Period
(1900-present)
Chronological sequence
Bolivia
Late Republican Period
(1900-present)
Chronological sequence
Chile
Late Republican Period
(1900-present)
Chronological sequence
Peru
Late Republican Period
(1900-present)
1900
1800
1500
1400
1300
1200
1100
1000
Regional Developments
/ Late Intermediate Period
(AD 900-1420)
Years
22
2000
1700
1600
900
800
700
600
BC
100
200
to
300
400
500
600
700
800
1700
1800
AD
900
1000
1100
1200
1300
1400
1500
1600
Middle Period
(AD 400-900)
500
400
300
200
100
Initial Period
(2000-900 BC)
Preceramic Period
(8000-1600 BC)
Late Archaic Period
(4000-1800 BC)
1900
2000
2200
2400
2600
2800
3000
4000
6000
8000
10000
Fig. 4. Table of textile periods.
Preceramic Period
(8000-2000 BC)
23
24
Eastern Valles
Western Valles
Arica Coast
Arica Interior
25
Suriki Island
River Acre
River Itnez
River Grande
River Parapeti
River Pilcomayo
27
Museum objects
following the textile productive chain
28
REGIONAL RESOURCES
CATALOGUE 1
Bibliography and reference textiles: On the processes of making cordwork and textiles from
plant fibres, see Gonzalo (1998: 135-139).
29
CATALOGUE 2
30
CATALOGUE 3
J
A. Alpaca fleece in a natural gray
Object ID: 28237.
Raw material: Alpaca fibre; Sub-class of raw material: Camelid fibre, as part of Animal fibre.
Equivalences: Sp. fibre de alpaca; Aym. allpach tarwa; Qu. allpaka millma; Eng. alpaca fiber.
Period: Late Republican Period (1900-present); Cultural affiliation: Quechua-Aymaya-Kallawaya.
Provenance: Ulla Ulla, Franz Tamayo Prov., La Paz Dept., Northern Interandean Valleys, Bolivia.
Colour: Natural gray.
31
Shearing fleece from a hide and a live animal. Photographs: Elvira Espejo
Bibliography and reference textiles: See the section on fibre in the book Ciencia de las mujeres
(Arnold and Espejo, 2010: 73-94, 107-116).
32
SHEARING
CATALOGUE 4
Fibre cutters
A. Inka knife with handle to shear fibre
Object ID: 19487.
Instrument: Knife with handle;
Sub-class of instrument: Fibre cutter, as part of Shearing
instrument.
Equivalences: Sp. cuchillo con mango.
Size: Intermediate; Dims.: Width: 10 cm; Length: 13.2 cm.
Period: Late Horizon (AD 1430-1540);
Cultural affiliation: Inka.
Provenance: Acquired in Sucre, Oropeza Prov.,
Chuquisaca Dept., Central Interandean Valleys, Bolivia.
Material: Copper cutter with handle in animal bone,
attached by strips of animal hide.
33
Bibliography and reference textiles: For information on fibre cutters, see also Arnold and Espejo
(2013a: 67).
34
Archaeological combs
35
Bibliography and reference textiles: Nordenskilds study (1929: 147-148, figs. 41a and b)
shows similar combs (Fr. peigne baguettes) from the Chaco region (among the Choroti, Ashluslay
and Chiriguanos), during the 1920s. According to this author, these combs were obtained through
exchanges with highland populations (ibd.: 245-7). See also Gonzalo (1998: 196-198 and fig. 50).
36
CATALOGUE 6
WHITE
LIGHT GRAY
DARK GRAY
BLACK
LIGHT BROWN
MID BROWN
DARK BROWN
LIGHT ROAN
DARK ROAN
VICUA TONE
37
B. Two camelid fibre fleeces well prepared, cleaned and teased out
Raw material; Camelid fibre; Sub-class of raw material: Animal fibre.
Equivalences: Sp. fibra de camlido; Eng. camelid fiber.
Period: Late Republican Period (1900-present); Cultural affiliation: Aymara-Quechua.
Provenance: Courtesy of Elvira Espejo.
Bibliography and reference textiles: On the ways of classifying the colours and qualities of
camelid fleece, see Arnold and Espejo (2010: 107-116).
38
39
Bibliography and reference textiles: Similar spindles have been found in sites on the South
Coast of Peru, dating to the Middle Horizon Period (see Del Solar, 2007: 31, detail d).
40
CATALOGUE 8
SPINNING
A. Small drop spindle with wooden whorl, and cotton yarn in a natural off-white
Instrument: Drop spindle for spinning; Sub-class of instrument: Spindle, as part of Spinning instruments.
Equivalences: Sp. rueca para hilar, huso para hilar; Aym. qapu; Qu. phuska.
Size: Small; Dims.: Height: 17 cm; Dia.: 3 cm
Period: Late Republican Period (1900-present); Cultural affiliation: Aymara-Quechua.
Provenance: Courtesy of Elvira Espejo.
Material: Shaft: Wood; Whorl: Wood; with cotton nap and yarn.
B. Intermediate drop spindle with wooden whorl, with camelid fibre yarn in a natural light gray
Instrument: Drop spindle for spinning; Sub-class of instrument: Spindle, as part of Spinning instruments.
Equivalences: Sp. rueca para hilar, huso para hilar; Aym. qapu; Qu. phuska.
Size: Intermediate; Dims.: Height: 23 cm; Dia.: 5 cm
Period: Late Republican Period (1900-present); Cultural affiliation: Aymara-Quechua.
Provenance: Courtesy of Elvira Espejo.
Material: Shaft: Wood; Whorl: Wood; with camelid fibre fleece and yarn.
41
PLYING
A. Large plying drop spindle with a wooden whorl, and a ball of wool in a natural off-white
Instrument: Drop spindle for plying; Sub-class of instrument: Spindle, as part of Spinning instruments.
Equivalences: Sp. rueca para torcelar, huso para torcelar; Aym. kanti, kanthi, kantti; Qu. kanti, kanthi, kantti,
phuska pharina.
Size: Small; Dims.: Height: 28 cm; Dia.: 5 cm
Period: Late Republican Period (1900-present); Cultural affiliation: Aymara-Quechua.
Provenance: Courtesy of Elvira Espejo.
Material: Shaft: Wood; Whorl: Wood; with camelid fibre yarn.
C. Large plying drop spindle for a thick thread, with a ball of camelid fibre yarn in a natural off-white
Object ID: 19564.
Instrument: Drop spindle for plying; Sub-class of instrument: Spindle, as part of Spinning instruments.
Equivalences: Sp. rueca para torcelar, huso para torcelar; Aym. kanti, kanthi, kantti; Qu. kanti, kanthi, kantti,
phuska tullusqa.
Size: Large; Dims.: Height: 43 cm.
Period: Late Republican Period (1900-present); Cultural affiliation: Unknown.
Provenance: Unknown.
Material: Shaft: Wood; Whorl: Wood; with camelid fibre yarn.
Bibliography and reference textiles: On ethnographic spindles in the Andes, see Arnold and
Espejo (2010: 117-128; 2013a: 68-73) among others.
42
CATALOGUE 9
Bibliography and reference textiles: There are usually three sizes of wooden shafts used for
twisting strands of a fine, intermediate and greater thickness, to be used in ropework.
43
CATALOGUE 10
44
PLYING
45
CATALOGUE 11
Spinning machines
A. Manual spinning machine with a wheel and rubber band, used by Mojo people
Object ID: 26745.
Instrument: Manual spinning machine; Sub-class of instrument: Spinning instrument.
Equivalences: Sp. hiladora manual.
Size: Small; Dims.: Height: 44.3 cm; Width: 45.6 cm; Depth: 40.8 cm.
Period: Late Republican Period (1900-present), purchased in 2010; Cultural affiliation: Mojo.
Provenance: San Ignacio de Mojos, Mojos Prov., Beni Dept., Transition zone, Bolivia.
Material: Hardwood, strip of rubber, nails and plant fibre.
46
47
Bibliography and reference textiles: Although there are studies of spinning and winding
machines from the Colonial Period, there are few studies on the wide variety of these instruments used
over the past centuries.
48
SPINNING PRODUCTS
CATALOGUE 12
B. Prehispanic ball of alpaca fibre yarn in a natural mid brown, as an accessory of a Nasca weaver
Object ID: 19440, 19572, 19439 and 19483.
Winding product: Ball of yarn.
Equivalences: Sp. ovillo; Aym. chankha muruqu; Qu. chutki.
Size: Small; Dims.: Dia. aprox. 2 cm.
Period: Early Intermediate (200 BC-AD 600); Cultural affiliation: Nasca.
Provenance: Nasca, South Coast of Peru.
Material: Alpaca fibre yarn.
C. Prehispanic ball of cotton fibre yarn in a cylindrical form, in a natural dark brown
Object ID: 20173.
Winding product: Ball of yarn.
Equivalences: Sp. ovillo; Aym. chankha muruqu; Qu. chutki.
Size: Small.
Period: Unknown prehispanic period; Cultural affiliation: Unknown.
Provenance: Unknown.
Material: Cotton fibre yarn.
Ball of alpaca fibre yarn as part of the accessories of a weaver from Nasca, dating to the Early Intermediate Period.
Bibliography and reference textiles: On the processes of winding fibre into balls, and the
products from these processes, see Arnold and Espejo (2010: 119-120; 2013a: 74-80).
49
CATALOGUE 13
A. Balls of camelid fibre yarn of twelve natural tones, including bichrome yarn
Raw material: Balls of camelid fibre yarn; Sub-class of raw material: Animal fibre, as part of Fibre.
Equivalences: Sp. ovillo de hilo de fibra de camlido; Aym. chankha muruqu; Eng. balls of camelid fiber thread.
Period: Late Republican Period (1900-present); Cultural affiliation: Aymara-Quechua.
Provenance: Courtesy of Elvira Espejo.
Material: Camelid fibre yarn in natural tones.
50
Bibliography and reference textiles: On the processes of spinning and their products in the
Andes, see Arnold and Espejo (2010: 119-120; 2013a: 74-80).
51
WINDING SKEINS
CATALOGUE 14
52
Bibliography and reference textiles: On the processes of spinning combined with winding
skeins, see Arnold and Espejo (2010: 117-128).
53
DYEING
We present here some examples of dyes and mordants used in modern weaving practices in the
Andean highlands.
Pounding the shrub tola on a grinding stone (left) and skeins dyes with the leaves of this plant (right). Photograph: Elvira Espejo
54
CATALOGUE 15
G
B
A. Raw material: Pepper tree dye; Sub-class of raw material: Plant dye, as part of Dyes.
Equivalences: Sp. molle, rbol de la vida; Aym. & Qu. mulli; Lat. Schinus molle L. (Anacardiaceae).
Period: Late Republican Period (1900-present); Cultural affiliation: Aymara-Quechua.
Provenance: Courtesy of Elvira Espejo.
Apart from its medicinal uses, the leaves of the pepper tree (Sp. molle) contain a range of flavonoids and polyphenolic
metabolites to dye a range of yellow and green tones from clear to dark in saturation. In the colonial workhouses (Sp.
obrajes), a decoction of the leaves was used to obtain the base dyes for tones of green, orange and olive (Cardon,
2007: 443). If mordants with an iron base are used, then tones of gray can also be obtained. The importance of the
pepper tree as a dye source is mentioned in the Tratado de Quito sobre los obrajes (Annimo, c. 1703).
B. Raw material: Relbunium dye; Sub-class of raw material: Plant dye, as part of Dyes.
Equivalences: Sp. chapichapi, antaco, chamiri; Aym. & Qu. chapi chapi; Lat. Relbunium spp.; Eng. rubicieae.
Period: Late Republican Period (1900-present); Cultural affiliation: Aymara-Quechua.
Provenance: Courtesy of Elvira Espejo.
The roots of the perennial herb chapichapi, from the Rubicieae family, are used to dye tones of orange. They are
usually accompanied by the mordant alum.
55
C. Raw material: Greater burdock dye; Sub-class of raw material: Plant dye, as part of Dyes.
Equivalences: Sp. bandana, lampaya, lampazo; Aym. & Qu. lamphaya; Qu. asllawari; Lat. Arctium lappa L.; Eng.
greater burdock, edible burdock, lappa, or beggars buttons.
Period: Late Republican Period (1900-present); Cultural affiliation: Aymara-Quechua.
Provenance: Courtesy of Elvira Espejo.
Apart from its medicinal uses, the leaves of greater burdock are used to dye a range of red-browns, from a mediumdark to the darkest tones.
D. Raw material: Chilca dye; Sub-class of raw material: Plant dye, as part of Dyes.
Equivalences: Sp. spadilla, callua callua, chilca; Aym. & Qu. chillkha; Qu. kisma-kuchu; Lat. Baccharis spp.
(Compositae); Eng. chilca.
Period: Late Republican Period (1900-present); Cultural affiliation: Aymara-Quechua.
Provenance: Courtesy of Elvira Espejo.
The leaves of chilca contain apigenin and other flavonoids, which can be used to dye a variety of yellows and greens
(olive). They also contain the tannins responsible for dyeing an olive green, which can be obtained by modifying the
yellow dye with iron acetate, ferrous sulphate or ferruginous clays (Roquero, 2006: 109). There exists evidence for
the use of chilca as a textile dye dating to the Necropolis of Paracas (300 BC) and possibly before.
E. Raw material: Turmeric dye; Sub-class of raw material: Plant dye, as part of Dyes.
Equivalences: Sp. curcuma, palillo; Aym. & Qu. palillu; Lat. Curcuma longa L.; Eng. turmeric.
Period: Late Republican Period (1900-present); Cultural affiliation: Aymara-Quechua.
Provenance: Courtesy of Elvira Espejo.
The fresh, and dried and ground rhizomes of the turmeric plant are used to produce a powder which contains
curcuminoid dyes, with which various tones of yellow can be obtained.
F. Raw material: Annatto dye; Sub-class of raw material: Plant dye, as part of Dyes.
Equivalences: Sp. achuhuete, achiote, achotl, annato; Qu. wantura, mantur; Gua. uruc; Lat. Bixa orellana L.
Bixaceae; Eng. annatto.
Period: Late Republican Period (1900-present); Cultural affiliation: Aymara-Quechua.
Provenance: Courtesy of Elvira Espejo.
Annatto dyes are used to produce red-orange and yellow tones. The dye with a base of carotenoids is extracted from
the seeds of this plant, with their obovoid and angular form, by wetting and compressing them in water, and then
leaving them during a period of fermentation. The dye is direct, and does not demand the addition of mordants in
order to dye animal or plant fibres.
G. Raw material: Phytolacca dye; Sub-class of raw material: Plant dye, as part of Dyes.
Equivalences: Sp. ayrampo, airampo, airambo, apacas, jaboncillo; Aym. & Qu. ayrampu; Lat. Phytolacca rivinoides
K. & B. (Phytolaccaceae); Eng. pokeweed.
Period: Late Republican Period (1900-present); Cultural affiliation: Aymara-Quechua.
Provenance: Courtesy of Elvira Espejo.
The pulp of the fruits of the Phytolacca cactus are used to dye light tones of red.
H. Raw material: Cochineal dye; Sub-class of raw material: Animal dye, as part of Dyes.
Equivalences: Sp. grana, grana cochinilla, macnu, magno; Aym. & Qu. majnu; Eng. cochineal.
Period: Late Republican Period (1900-present); Cultural affiliation: Aymara-Quechua.
Provenance: Courtesy of Elvira Espejo.
Wild cochineal can be used, or else it can be cultivated. The females of the insects (Lat. Dactylopius coccus Costa
[Dactylopiidae]) which produce the cochineal are cultivated in orchards of tunal or nopal cactuses, of the genus
Opuntia. The fertilised female swells and is protected with a white mucus on the surface of the nopal. The dried
bodies of the females, which contain carminic acid, are used to produce the cochineal in powder or in tablet form. A
great variety of colours can be produced from these, from blue-violets to a range of violets, reds (crimson and scarlet),
oranges and grays.
I. Raw material: Indigo dye; Sub-class of raw material: Plant dye, as part of Dyes.
Equivalences: Sp. ail, ndigo, llangua, mutuy; Aym. & Qu. larama; Lat. Indigofera spp. (Leguminosae); Eng. indigo,
Gene fustian.
Period: Late Republican Period (1900-present); Cultural affiliation: Aymara-Quechua.
Provenance: Courtesy of Elvira Espejo.
The leaves of the indigo plant are used mainly to dye a range of blue-violets, called generically indigo. The
indicans and isantans present in the indigo plant are converted to indoxil which lacks colour and sugars. Then,
through oxidation in the air, the indoxil is converted into indigotin, which is the blue chemical substance responsible
for the dye properties of indigo. Industrial aniline dyes are produced by heating indigo with caustic potassium
carbonate (Cardon, 2007: 338, 354). The English plant name, Gene fustian, was applied to the blue-jeans made
characteristically with this indigo dye.
56
Bibliography and reference textiles: On textile dyes in general, see Roquero (2006) and Cardon
(2007). On the use of grinding stones and pigments, see Arnold and Espejo (2010: 129-132; 2013a:
80-81).
57
CATALOGUE 16
Bibliography and reference textiles: The lowland Ayoreo people use hematite pigments and
dyes, which they call curud, to dye materials a red colour. The resulting colours from this dye can be
seen in Catalogue nos. 187 and 190.
58
CATALOGUE 17
59
D. Measuring spoon for dyes, as part of the burial offerings of a Nasca weaver
Object ID: 19457.
Instrument: Measuring spoon for dyes; Sub-class of instrument: Dyeing instruments.
Equivalences: Sp. cuchara, esptula, esptula medidora; Aym. qutani, wislla; Eng. pigment measuring spoon.
Size: Intermediate; Dims.: Width: 1.3 cm; Height: 17.5 cm.
Period: Early Intermediate (200 BC-AD 600); Cultural affiliation: Nasca.
Provenance: Nasca, South Coast of Peru.
Material: Animal bone.
This measuring spoon was found among the burial offerings of a Nasca weaver, dating to the Early Intermediate
Period (200 BC-AD 600). At one end is the spoon for introducing the pigment; at the other, the handle has a series of
grooves to indicate the quantities of pigment to be used.
Bibliography and reference textiles: We have found no references or reference objects for these
instruments.
60
WINDING YARN
CATALOGUE 18
61
Bibliography and reference textiles: On the processes of winding yarn and their products, see
Arnold and Espejo (2013a: 76-80).
62
CATALOGUE 19
A. Wound cylinder of twine in plant fibre used by the Weenhayek or Mataco people
Object ID: 1977.
Producto de ovillado: Wound length of plant fibre yarn.
Equivalences: Sp. ovillo; Aym. muruqu; Qu. watanisqa.
Size: Small; Dims.: Width: 3 cm; Length: 5.6 cm.
Period: Late Republican Period (1900-present); Cultural affiliation: Weenhayek.
Provenance: Weenhayek people, Chaco region, Bolivia.
Material: Plant fibre in a natural tone, twined in Z.
63
C. Wound cylinder of twine in plant fibre used by the Weenhayek or Mataco people
Object ID: 2112.
Producto de ovillado: Wound length of plant fibre string.
Equivalences: Sp. ovillo; Aym. muruqu; Qu. watanisqa.
Size: Intermediate; Dims.: Width: 8.2 cm; Length: 23 cm.
Period: Late Republican Period (1900-present); Cultural affiliation: Weenhayek.
Provenance: Weenhayek people, Chaco region, Bolivia.
Material: Plant fibre in a natural tone, twined in Z.
64
Bibliography and reference textiles: On the processing of lowland plant fibre into yarn and
string, see Gonzalo (1998: 140-147).
65
WARPING UP
Before warping up the loom, the preliminary use of warping instruments permits just one person
to carry out this task, instead of the usual two; this is especially useful in warping up very complex
woven structures with more than two warp bouts. These warping instruments have various perforations
in which the threads of different colours are inserted, allowing the multiple warp bouts to be set in one
single warp pass around the loom bars in a figure of 8.
CATALOGUE 20
66
B. Cyclindrical warping instrument of bone, with one larger perforation and two smaller ones
Object ID: 20165.
Instrument: Warping instrument of bone; Sub-class of instrument: Warping instrument.
Equivalences: Sp. urdidor de hueso; Aym. sawu tila chhunkula; Eng. bone warping instrument.
Size: Intermediate; Dims.: Width: 2 cm; Length: 9 cm.
Period: Early Intermediate (200 BC-AD 600); Cultural affiliation: Nasca.
Provenance: Nasca, South Coast of Peru.
Material: Animal bone.
Possible warping instrument (or a reused hanging device) made of animal bone in a cylindrical form, and emptied of its
contents, found as part of the grave offerings of a Nasca weaver (from the Early Intermediate Period). The instrument has a
larger circular perforation in the centre of one side with a smaller perforation near this, and two smaller perforations in line,
one at each end of the piece.
Bibliography and reference textiles: On warping instruments, see Arnold and Espejo (2013a: 83-86).
WEAVING
Archaeological evidence from various regions suggests that in the past distinct kinds of looms
were used for different purposes. This situation continues until today. Throughout the Andean region,
and in the lowlands too, diverse kinds of loom are used, including the backstrap loom, the vertical
and horizontal looms, the A frame loom, and the circular framed loom, as well as the pedal loom.
The history of the interrelations and technological influences in looms between each major region
has still to be studied, but a to-ing and fro-ing of ideas (especially between the coast and lowlands in
archaeological periods) often resulted in the application of the same textile techniques in both regions.
The vertical loom is the lesser known of this range of looms, although it is still used in many
regions of North America, and in the South American highlands and lowlands. Characterised by
its vertical form with a solid base, a frame of vertical props, and two horizontal wooden beams, the
stability of the frame is achieved by resting it on the ground. The use of this type of loom is directed
towards the production of large, wide and heavy pieces of fabric, above all in highland tapestry, and in
the knotting techniques of matting and carpetting.
In the prehispanic period, the vertical loom was probably used to produce the long and wide
fabrics for wrapping funerary bundles, as well as the balanced weaves and other fabrics destined for
the Inka tents. The use of vertical looms is associated above all with weaving activities during the
Inka period, in the fine tapestry work of the cumbicamayocs, destined for official uniforms or gifts for
Vertical semi-industrial loom in the PUNHA cooperative in Northwestern Argentina. Photograph: Lucila Bugallo
68
Pedal loom in the community of Alfarcito, Northwest Argentina. Photograph: Lucila Bugallo
the new subjects of the Inka empire. In the Colonial period, the scarce documentation concerning
technological developments in looms in Europe during the sixteenth and seventeenth centuries, makes
it difficult to compare developments in Europe and the Andes, their degrees of influence and the
differences in play. However, the pedal loom introduced in the Colonial period and used until now
in the Andes and throughout the lowlands, seems to have been influenced by medieval looms of the
Middle East.
In the 1970s, a case documented in a community in the Arequipa region (Catahuasi-Pampamarca)
in the Southern Sierra of Peru, mentions that almost half of the men used a vertical loom to produce
carpets and bedcovers with knotting techniques, using naps. The weavers of the place commented that
a century before, in the same community, a fine tapestry was made on the same kind of loom, and that
the transition to the knotting techniques is relatively recent.
We present here examples of A frame looms used in Tarabuco, in the Chuquisaca valleys of
Bolivia, and among the lowland Takana peoples, in North of La Paz. This loom consists of a framing
of vertical and horizontal poles in an A figure, tied with strips of animal hide, plant fibre or ropes,
depending on the region. In the case of the Chuquisaca loom, the vertical poles have a system of
grooves so that the horizontal loom bars can be placed in different positions, depending on the size of
the piece being made.
In present-day learning processes, above all those of young girls learning warp-faced weaves, they
pass from using simple kinds of loom to more complex ones, as they complete the stages of managing
more simple to more complex weaving structures and techniques. Therefore, in any one region, a range
of looms are used during this learning cycle, from more rudimentary to more complex ones, beginning
with the most simple rod looms at the beginning, on which the small straps called tirinsa are made.
69
70
CATALOGUE 21
71
Simple backstrap archaeological loom, found in Chancay, on the Central Coast of Peru. The loom
is warped with cotton threads in a natural off-white. A panel being woven presents the beginning and
ending of a structure for balanced weave, warped in one, and the technique for balanced warp and weft,
with paired wefts. The band of designs is in weft-faced weave, with a structure for weft-faced weave
warped in one, and a technique for tapestry with supplementary wefts in weft figures. In this section,
the weft is of camelid fibre, coloured with natural dyes. The loom lacks any weaving instruments.
The composition of the main horizontal band is of diagonal segments of birds in profile (possibly
pelicans) with serrated and interlaced tails, and seed-like eyes of cotton, separated by diagonal serrated
settings. Other horizontal bands have diamond motifs with four seeds in each interior.
Bibliography and reference textiles: A loom with a similar textile in the making is found in
Catalogue 158 (Inv. 718) in the Maiman Collection in Israel (Makowski et al., 2006 Vol. 1: 208-209).
72
CATALOGUE 22
73
Simple backstrap archaeological loom found in Chancay, on the Central Coast of Peru, warped
with cotton threads in natural cream and brown. The loom includes a panel being made in warpfaced weave with a structure warped in one, and plainweave technique. Some weaving instruments are
present: there is a rod with heddle set, three or four major separating rods, and a finer separating rod in
the role of a colour selector (Aym. jaynu). The shuttle has the remnants of a natural brown weft thread.
It is possible that not all of these instruments formed part of the original loom.
The composition of the piece is asymmetrical, with groupings of intermediate and narrow stripes
in the natural cream and brown cotton colours.
Bibliography and reference textiles: On archaeological and historical looms from the coast, see
Skinner (1974), and Arnold and Espejo (2013a: 87-92).
74
CATALOGUE 23
75
Ethnographic vertical A frame loom of hardwood poles, with grooves cut at intervals to receive
the horizontal loom bars. The loom is held together using strips of animal hide and fine rope. It
includes a set of weaving instruments: picks (Qu. wichua) of bone and wood, common in the valleys,
a rod for separating the colour layers (Aym. jaynu), and a wooden shuttle. There is also a metal wire
instrument for separating the warp layers.
The loom is armed with cotton warp threads in a natural white colour and in black. Part of a warpfaced weaving is already woven, probably one half of a female mantle (Qu. llijlla) or female overdress
(Qu. aksu). The black pampa is in a simple structure, warped in one, and plainweave technique, while
the figurative area (Qu. pallay) has major and intermediate bands in a simple structure warped in two,
and selected technique counted by the odd derivative, 2|1, and minor bands with a complex structure
warped in three, and the same technique.
The composition of the piece comprises the black monochrome pampa, and the figurative pallay.
The pallay has a main central design band, with motifs of zigzags with botanical elements, stars, birds
and horses, and two main lateral bands with motifs organised in rows of horses and possibly vizcachas,
an Andean rodent. These main bands are intercalated with intermediate bands, having motifs of birds
and dogs (or llamas with raised tails). All of these larger design bands are separated, in turn, by minor
bands which likewise have complex structures, warped in three, and a selected technique counted in
pairs, 2|2, with motifs of zigzags, chevrons and stars.
Bibliography and reference textiles: See other pieces woven on this kind of loom in Catalogue
nos. 153 and 155. On archaeological, historical and ethnographic looms in general, see Arnold and
Espejo (2013a: 87-92).
76
CATALOGUE 24
77
78
CATALOGUE 25
79
Small vertical A frame loom, in which the horizontal loom bars are attached to the vertical poles
with strips of pia fibre (Sp. garabat). The textile being made, possibly a bag, has a structure for
sprang, and is in the interlaced sprang technique (Fr. passementerie), called marico (androgenous) in
the region, with a resulting pattern of transposed warps.
The composition of the transposed warps is of zigzags and diamonds in the red and green artificially
dyed yarns constrated with the off-white natural tone of cotton.
Relations and reference pieces: Related pieces can be seen in Catalogue nos. 24 and 170.
80
CATALOGUE 26
81
Vertical loom used by the Mojos people, armed with part of a textile in warp-faced weave. The
loom has a basis of hardwood supports to either side, with two vertical hardwood beams, and two
horizontal loom bars of the same wood. In this example, the position of the horizontal loom bars is
fixed, but in other examples the height of the weaving can be adjusted through a system of holes in the
main vertical beams, to which the horizontal bars are attached with rounded pegs. The looms heddle
set is organised on a metal wire, and there are various instruments attached: a shuttle made of peach
palm wood (also called chonta, chontaduro, pijuayo and temb; Lat. Bactris gasipaes), loaded with cotton
weft thread in a natural white, two rods for separating the warp layers, and a large wooden sword
which stretches from side to side of the loom.
The plainweave stripes of the textile being made have a simple structure, warped in one. The bands
have a simple structure, warped in two, and the selected technique with paired warp, called liyi palla
in the region. The woven composition is symmetrical in relation to the central axis. The plainweave
and monochrome pampa is divided into wide stripes in gray, alternating with bands of the liyi palla
technique, presenting sections of chevron motifs, and bordered by intermediate-sized coloured stripes,
or with wide stripes then bordered by intermediate-sized stripes. The chromatic range contrasts the
gray stripes with the bands in a light fuschia red with white or gray, or of white with gray.
Bibliography and reference pieces: For details on the construction of Mojos looms, see the
book Produccin artesanal de tejidos: Tejidos de las mujeres izoceas, by Mandiri and Zolezzi (1985). On
lowland vertical looms and their instruments, especially in the Chaco, see Gonzalo (1998: 166-173).
82
CATALOGUE 27
83
Detail C
Detail D
84
Bibliography and reference textiles: On the types of separator or wichua associated with
making tapestry weaves, see Rivera (2012, 2014) and Arnold and Espejo (2013a: 99-103).
85
CATALOGUE 28
86
Loom warped up, and with a bone beater or wichua. Photograph: Elvira Espejo
Bibliography and reference textiles: On the kinds of weft beaters and bone picks or wichua
used for making warp-faced weaves, see Rivera (2012, 2014) and Arnold and Espejo (2013a: 99-103).
87
CATALOGUE 29
Detail B
88
89
Bibliography and reference textiles: On these fine and sharp types of selector, called wichua
or jaynu in Aymara, used to select the coloured threads in the figures of warp-faced weaves, see Rivera
(2012, 2014) and Arnold and Espejo (2013a: 99-103).
90
CATALOGUE 30
Instrument: Specific colour selector; Sub-class of instrument: Selector, as part of Loom furniture.
Equivalences: Sp. seleccionador de color; Aym. & Qu. jaynu; Qu. chijlana; Eng. specific colour selector, specific
color selector, specific pick-up stick, specific pick-up instrument.
Size: From small to large; Dims.: Length: from 18 to 28 cm.
Period: Late Republican Period (1900-present); Cultural affiliation: Aymara-Quechua.
Provenance: Courtesy of Elvira Espejo.
Material: Wood.
The colour selectors, called in Aymara jaynu and in Quechua chijlana, are used to select the warp
threads on the loom of a certain colour range to aid in making the woven figures. In the region of
the ayllus in the South of Oruro and North of Potos, jaynu in Aymara also refers generically to the
pathway of a young female adolescent in learning the feminine tasks, principally weaving and song
making.
Bibliography and reference textiles: On the specific colour selectors in general, see Arnold and
Espejo (2013a: 95-99).
91
CATALOGUE 31
Bibliography and reference textiles: On Andean shuttles in general, see Arnold and Espejo
(2013a: 103-104).
92
FINISHING
A selection of needles and bodkins (Aym. yawri) are used in textile finishes, whether in sewing the
unions and seams between the distinct components of the weaving, or in the finishing of the borders
and edgings, in which a wide range of different techniques are applied: of buttonhole or overcasting
stitch, cross-knit loop stitch, and many others.
CATALOGUE 32
Detail A
Detail B
93
Detail C
94
95
Weaver finishing an awayu with a simple tubular edging (Aym. ina sawukipata). Photograph: Elvira Espejo
96
CATALOGUE 33
A
B
97
Detail C
Bibliography and reference textiles: With respect to lowland sewing instruments, Nordenskild
(1929: 202-208, fig. 57) examines needles (Fr. aiguille) from the Chaco region, during the 1920s. See
also Gonzalo (1998: 173-176, figs. 41 and Photo No. 10 and in use in Photos Nos. 11 and 12).
98
GUARDING INSTRUMENTS
Weaving instruments tend to have been guarded in a range of baskets, bags and carrying cloths
(Aym. awayu), depending on the size of the instruments and, importantly, on the ecological region,
the demands of daily work, and the availability of the materials.
CATALOGUE 34
99
TEXTILE PLANNING
CATALOGUE 35
DESIGN MODELS
A. Model for weaving designs with a double cloth technique, from Kultha ayllu
Object ID: 1943.
Form: Model for weaving designs; Sub-class of form: Textile planning instruments.
Equivalences: Sp. modelo para figuras textiles, muestrario de diseos para doble tela, textil didctico para doble
tela; Aym. tisnu iqant salta waraa; Qu. kurti pallay waraa, kurti saqa, Eng: model for weaving designs in double
cloth.
Size: Large; Dims.: Width: 19 cm; Length: 40 cm.
Period: Late Republican Period (1900-present); Cultural affiliation: Aymara-Quechua-Asanaque.
Provenance: Kultha ayllu, Abaroa Prov., Oruro Dept., Bolivia.
Material: Camelid fibre yarn.
Model for woven figures in camelid fibre yarn from Kultha ayllu with the technique of double cloth, presenting a
main motif of a lozenge with volute appendices, and zoomorph in the interior, and with various other motifs in the
interstices of the segment.
B. Model for weaving designs with the selected technique and a derived odd count, 2|1, from Kultha ayllu
Object ID: 1942.
Form: Model for weaving designs; Sub-class of form: Textile planning instruments.
Equivalences: Sp. modelo para figuras textiles, con conteo 2|1, muestrario de diseos en conteo de 2|1; Aym.
chulla pall salta waraa; Qu. chulla pallay yupana, iskay uj pallay yupana, chulla saqa; Eng: model for weaving
designs with a 2|1 pickup.
Size: Intermediate; Dims.: Width: 18 cm; Length: 40 cm.
Period: Late Republican Period (1900-present); Cultural affiliation: Aymara-Quechua-Asanaque.
Provenance: Kultha ayllu, Abaroa Prov., Oruro Dept., Bolivia.
Material: Camelid fibre yarn.
Model for woven figures in camelid fibre yarn from Kultha ayllu, with the selected technique counted with the odd
derivative 2|1, presenting motifs of volutes in zigzag.
100
C. Model for woven figures with the selected technique counted in pairs, 2|2, from Kultha ayllu
Object ID: 1946.
Forma: Model for woven figures counted in pairs, 2|2; Sub-class of Form: Textile planning instruments.
Equivalences: Sp. modelo para figuras textiles, muestrario de diseos en conteo de 2|2; Aym. paris pall salta
waraa; Qu. iskay pallay yupana, iskay saqa; Eng: model for weaving designs with a 2|2 pickup.
Size: Intermediate; Dims.: Width: 9 cm; Length: 39 cm.
Period: Late Republican Period (1900-present); Cultural affiliation: Aymara-Quechua-Asanaque.
Provenance: Kultha, Abaroa Prov., Oruro Dept., Bolivia.
Material: Camelid fibre yarn.
Model for woven figures in camelid fibre yarn from Kultha ayllu, with the selected technique counted in pairs, 2|2,
presenting motifs of stepped or serrated zigzags, with stemmed lozenges with appendices on the interstices.
D. Model for woven figures with the selected technique counted by the odd derivative, 2|1, and in pairs,
2|2, from Kultha ayllu
Object ID: 1945.
Forma: Model for woven figures counted in 2|1 and 2|2; Sub-class of Form: Textile planning instruments.
Equivalences: Sp. modelo para figuras textiles, muestrario de diseos en conteo de 2|1 y 2|2; Aym. chulla palla,
paris pall salta waraa; Qu. chulla pallay, iskay uj pallay yupana, chulla saqa; Eng: model for weaving designs for
2|1 and 2|2 pickups.
Size: Intermediate; Dims.: Width: 9 cm; Length: 40 cm.
Period: Late Republican Period (1900-present); Cultural affiliation: Aymara-Quechua-Asanaque.
Provenance: Kultha, Abaroa Prov., Oruro Dept., Bolivia.
Material: Camelid fibre yarn.
Model for woven figures in camelid fibre yarn from Kultha ayllu, with the selected technique counted by the odd
derivative, 2|1, presenting motifs of volutes in zigzag in the upper part, and counted in pairs, 2|2, presenting a
zoomorphic motif in the lower part.
101
102
Musical instrument for playing the jula jula (a march by troops of warriors), from Macha ayllu,
wrapped with sheep wool yarns in colours from artificial dyes, which can be read as a textile planning
instrument, as a model for combining colours. The instrument in itself consists in four tubes of hollow
cane, connected by two horizontal frames of hollow cane tied with sheep wool yarn (the upper frame
has written in pencil on one side the word Chiriwano, after the lowland warriors). An additional
strip of hollow cane has been inserted, and combined with the horizontal frame forms a kind of
cross. The additional sections for the mouth of the instrument were fixed with resin, but these are no
longer present. The pattern of coloured threads wrapping each tube is distinct. In some tubes there
are wide and intermediate-sized sections of a single colour (blue, orange, fuschia, brown, dark red
and yellow), and in others there are wide sections in which there alternate, for example, two tones of
red. Between some sections of distinct colours, two colours have been twisted at each end. Among
weaving instruments, these colour patterns are referred to in arming the warp threads on a loom for
some particular garment. The configuration of this musical instrument with similar patterns of colour
demostrates the close relationship between the war music played by men and womens textile practices.
103
Bibliography and reference textiles: The planning of woven designs and the combinations
of colour used in the composition, before beginning to make the textile on the loom, has played
an important part, especially in textiles produced under state control, in which a certain degree of
standardisation had to be achieved in the overall sizes and the designs used. Models of designs in tapestry
and other weft-faced weaves, as a kind of didactic textile, have been found in archaeological sites on
the Peruvian coast, from at least the Late Intermediate Period. Similarly models for the combinations
of colours have been found in various sites, although these are more usually called varas (staffs) or by
other names. Contemporary weavers in the South-Central Andes, above all those learning a certain
technique or a new motif, still make these guides to memory before they achieve familiarity with the
new techniques and figures, and many examples of these kinds of didactic textile have been found,
although their function has not always been understood (see some examples from Calasaya, Oruro in
Desrosiers and Pulini, 1992: 51, fig. 37). Modern weavers also tend to share these models with others
learning a certain technique or design, generally for a payment in food products.
For more information on these models, see Arnold and Espejo (2012c, 2013a, chap. 4). See
an archaeological example from the Peruvian coast in Del Solar (2007: 32), and compare the data
on similarly wrapped archaeological rods from a coastal site in Splitstoser (2014). In the MUSEF
Collection there are various other ethnographic musical instruments with similarities to these models
for combining colours: see a large one (in Object ID: 04998, 04999 and 5025), a middle-sized one (in
Object ID: 5027 and 524) and a small one (in Object ID: 5023 and 5026).
Archaeological textiles
The archaeological textiles are presented in two major blocks according to their provenance: the
Central Andes or South-Central Andes. The Central Andes comprises the territories and cultures from
the North Coast of Peru to the Southern Highlands and South Coast of Peru, down to the latitude
of the site of Wari. The South-Central Andes comprises the territories from the Southern Highlands
and South Coast of Peru from Wari southwards, including the Western Valleys around Moquegua, the
Coast and Interior of Arica, the Northern, Central and Southern Altiplano of Bolivia, and to the east
the Northern, Central and Southern Interandean Valleys (consult maps 5 and 6 on p. 23, 24).
The Central Andes:
106
CATALOGUE 36
Panel fragment with figures in camelid fibre yarns, with possibly some parts in alpaca fibre (the
sections in white). This fragment with its three-dimensional figures is very characteristic of borders
from the period Proto-Nasca to Early Nasca, and typical of the cultures associated with the Necropolis
of Paracas Nasca (Topara). The figures might express the series of transformations undergone by the
deceased after death in their transition to ancestors. Some similar bands with a fringe on the lower
border, are attached to shawls or cloaks (mantas) with Late Nasca influences (see the reference textiles).
The band is composed of various components. In the lower part, two major horizontal bands with
designs, separated by a lesser band of horizontal stripes in blocks, are sewn together with seams in diagonal
stitching in a green yarn. Originally, there must have been an additional piece below the panel, but only
remnants of the stitching of the seam can be seen. The upper part presents a row of anthropomorphs with
interlaced arms, collective bodies, and loose flowing hair above the heads. The structure of the lower part
of the band is for mesh of one single element, and the technique is for a mesh knitted with needles. The
lower edge of the top section of this lower part is finished in blanket stitch. The horizontal pattern of the
107
bodies of the figures uses the finishing technique of cross-knit loop stitch applied in a kind of crochet (in
what Jimnez Daz, 2009, calls borde con aguja: edging in needlework).
The lower section of the main band has a composition of stepped designs, the middle section has
horizontal stripes in blocks of three distinct colours, while the upper band has stepped designs on the
right of the piece, but stepped zigzags on the left. The upper band of figures is organised according to
the face colours, which are stylised rather than individualised. There seems to be a sequence with two
faces in red, intercalated with a face of another colour (light yellow, dark yellow, blue, light yellow,
dark yellow, and green), and so on. The lower part of the bodies also has a stepped design, rather like
camelids in profile, while the body itself repeats the design of horizontal stripes in blocks of distinct
colours seen in the lower middle section, the arms being mainly in a red colour (possibly indicating
these figures are male), although there are some yellow and blue arms, among other colours. Each
face has two eyes and a hollow mouth, and the hair in all cases is black and loose, formed of twisted
fibre cords, which leads some studies to suggest we are dealing with trophy heads as expressions of
regeneration. The chromatic range of the piece contrasts natural brown and black, combined with the
dark tones of red, green and blue, with the light tones of orange (or reddish brown) yellow and white.
Bibliography and reference textiles: Similar horizontal bands
with geometrical designs can be found in Catalogue nos. 72 (Inv.
217) and 73 (Inv. 227) of the Maiman Collection in Israel (Makowski
et al., 2006 Vol. 1: 112-113). Bands of figures with heads with loose
flowing hair can be found in the Museo de Amrica in Madrid (see
for example Catalogue no. 43, Inv. 14650, and Catalogue no. 45,
Inv. 02-5-208, in Jimnez Daz, 2009: 82, 84). Other examples
can be found in the Maiman Collection (for example Catalogue
nos. 11-22 in Makowski et al., ibid.: 50-57). For general details on
the techniques of this piece, consult Alan R. Sawyers, Early Nasca
Needlework (1997). On the stages of transformation of the dead
into ancestors, see the essay by Mary Frame (2001). In the MUSEF
Collection there are some internal references to mantas (or mantos)
with a border of figures, one with a pampa in red (Object ID: 20061)
and another in a bluish green (Object ID: 20985); in the latter case,
the heads of the figures no longer have hair.
108
CATALOGUE 37
109
110
CATALOGUE 38
111
Complete band of very fine tapestry in the NascaWari style, also known as Late Nasca or Proliferous,
from the South Coast of Peru. The band is made from
camelid fibre, possibly alpaca, with brilliant colours
in natural dyes; something of the original colour has
been lost only at one end of the band. The band has
a straight tapestry finish at either end. The structure
of the band is for a weft-faced weave, warped in one,
and the technique is for slit tapestry, with large slits,
or else separate colour blocks closed by dovetailing
techniques. The iconography and fineness of the
piece suggest it was destined for a user of high status.
The composition of the band is characteristic of
Wari influence on the southern coast of the Central
Andes. The iconography is of a mythical personage,
characterised by the configuration of the eyes, mouth
and headdress, which possibly express the wearing of
a golden mask. The antecendents for this iconography
can be found in the Necropolis of Paracas (Sawyer,
1960, 1997: 45). The mask of this figures is, in turn,
linked to three trophy heads (as a regional expression
of death and regeneration), with one head to each
side and the other in front of the mask. These trophy
heads are also associated with a series of motifs of
a feline mouth (in the appendices with volutes in
reflection). Jimnez (2009: 98) calls this elaborate
style baroque, since it deals with sacred imagery,
but one elaborated by the hand of a Nasca equivalent
of Keith Haring! In front of the foremost trophy
head stand two warriors in profile, carrying an
object between them (possibly an offering) in the
central axis of the mythical personage. Each one has
a painted face (green in some cases, blue in others, or
else a combination of both colours), and a headdress
with three triangles (probably three feathers); they seem to be kneeling as their feet have the nails
(or feline claws) towards the back. They carry on their backs an oblong element in blocks of colour
(possibly their wings, or else a quiver for their arrows). Other appendices associated with a feline
mouth appear from the face of the headdress of the mythical personage. Above this headdress there
appears another configuration, probably a detail of this beings mouth, once again associated with
four trophy heads (two on each side), together with other seed-like elements, and a longer element,
possibly the figures tongue, but similar to the quiver carried by the warriors.
Bibliography and reference textiles: In the entries on similar bands in the Museo de Amrica
in Madrid (Catalogue 59: Inv. 02-5-184, h: Inv. 02-5-227 and Catalogue 61: Inv. 02-5-209), Jimnez
suggests that bands of this type were sewn to certain garments, or else sewn together (Jimnez Daz,
2009: 98-100; Frame, 1999b: pl. 23). This example bears remnants of red-coloured stitching on at
least one of the side borders. On Nasca trophy heads and ideas of regeneration, see Proulx (2010).
112
CATALOGUE 39
113
114
CATALOGUE 40
115
Fragment of a mortuary belt in warpfaced weave, made with camelid fibre. The belt
is probably in the Nasca-Wari style (Late or
Proliferous Nasca). The fragment is of one single
piece, without seams or finishes. The plainweave
part has a simple structure, warped in one, and
the design band is complex, warped in three, with
mainly a selected technique counted in threes 3|3
(Aym. kimsa palla; Qu. kinsa pallay), in an odd
count, using two wefts. The piece is interesting as
it is uncommon to find archaeological examples
with the use of this counting technique.
The composition of the belt is of band of
designs on the longitudinal axis, flanked by the
plain lateral borders in mid red. The designs
present a checkerboard pattern in red, blue, yellow
brown, green and reddish brown, separated by
sections of ladder designs with the colour in rows.
Bibliography and reference textiles: A
fragment with the same technique, but on a
larger scale, can be seen in the MUSEF Collection
(Object ID: R-2690). On the selected technique
used in this piece, see Arnold and Espejo (2012a:
217-18; 2015: 274-75).
116
CATALOGUE 41
117
118
CATALOGUE 42
119
Small, closed and sleeveless tunic (Aym. qhawa; Qu. unku), possibly of a child, evidently used
during his (or her) lifetime as it presents many well-worn areas. The characteristic application of
tie- or reserve-dyeing, often associated with Wari and Wari expansion, is usually translated as ikat
(or ikkat, from the Malay term mengikat: to tie), but the native terminology is watasqa in Quechua
and qhawata in Aymara. Jimnez Daz (2004b: 187) associates this technique with the garments of
a Middle Horizon elite. The tunic is of a wide rectangular form, in balanced weave, and woven in
camelid fibre. The construction is of a continuous warp and weft, in one single piece folded in half at
the shoulders, and sewn at the side seams with camelid fibre yarn of a mid brown colour in diagonal
stitching, leaving openings for the arms. The neck opening is formed by discontinuous weft threads,
and presents selvedges. The borders of the arm openings lack an applied finish, however there is a
horizontal row of reinforced basting stitching in brown yarn on the lower part of the opening. By
comparison, the neck opening is finished in a simple buttonhole stitch in the same brown yarn, with a
similar row of basting stitch in the same yarn below the opening. The lower tunic border again lacks an
applied finish. The tunic structure is of balanced weave, warped in one, and the technique of balanced
warp and weft-faced weave, with the added technique of colour application by tie-dyeing.
The tunics composition is almost symmetrical about the central axis, with diamond motifs in
mid red, introduced by tie-dyeing over the otherwise monochrome brown saya (the colour of the base
yarns is much lighter). The left side of the tunic has one section (which comprises a third of the whole
garment) in a much darker brown, as if this had been dyed after the rest. The interior of the diamonds
is of the same colour brown. So the colour range of this tunic differentiates between the browns of the
dyed fabric and the red diamonds.
Bibliography and reference textiles: Short open tunics of the same period and provenance can
be seen in Catalogue 87 from the Museo de Amrica in Madrid (Jimnez Daz, 2009: 132-3, see also
Catalogue nos. 88 and 89, on p. 134-7). Examples with provenance from San Pedro de Atacama
and the Interior of Tarapac, include tunic no. 3937 from Coyo Oriente, in the Coleccin Museo
Arqueolgico R. P. Gustavo Le Paige, S. J. (Cases and Agero, 2004: 124, Fig. 5); tunic BM 1292,
from Bajo Molle, in the Coleccin Nielsen of the Museo Regional de Iquique (Cases and Agero,
2004: 128, Fig. 6), tunic (no number) from Pica-8, in the Coleccin Instituto de Investigaciones
Antropolgicas, Universidad de Antofagasta (Cases and Agero, ibid.: 128, Fig. 7); tunic C-63 from
Pica-Quisma, in the Coleccin Museo Regional of Iquique (ibid. : 128, Fig. 9); and tunic (no number)
from Tomb 5 in Chacance 2, in the Coleccin Museo Municipal de Mara Elena (ibid. : 131, Fig. 11).
Ann P. Rowe illustrates an example said to be from Chilca on the Central Peruvian Coast in the Textile
Museum in Washington, DC (No. 1965.40.43). The MUSEF Collection has a mantle fragment with
the same colours (Object ID: R-2700). Andean weavers have applied techniques of tie-and reservedyeing since at least the Early Horizon, as they are present in Chavn textiles. This technique achieved
greater complexity in the textiles of Nasca and Wari, and in the cultures of Chancay and Chim, and
in the North of Chile. See Brugnoli and Hoces (1999) on these techniques in general.
120
CATALOGUE 43
121
Fragment of over mantle in a wide rectangular form, in balanced weave and woven from camelid
fibre. It is possibly from Nasca, on the South Coast of Peru. However, Ann P. Rowe (2013: 201-2) notes
that similar tie-dyed garments sometimes pre-date Wari influence, dating to the Early Intermediate
Period, and she calls these the Southern Nasca style. In fact these earlier examples may have inspired
the Wari to develop this technique later on. Although the over mantle is part of the tradition of warp
manipulation, with discontinuous warp and weft, in this example the construction is of 16 separate
pieces (in 4 vertical and 4 horizontal rows), united by seams of camelid fibre yarn in a mid brown
colour, or in green in diagonal stitching; there are no dovetailed unions as in other similar pieces. The
borders lack applied finishes. The structure of the over mantle is for balanced weave, warped in one,
and the techniques is for balanced warp and weft-faced weaves, with the additional technique for
application of colour in tie-dyeing.
The composition of the over mantle is organised in diagonal rows (from left to right) composed
of units with the same colours, in a certain sequence (of reds, violets, reds, greens, reds, violets and
reds again), with the diamond motifs in lighter tones introduced by the technique of tie-dyeing,
contrasting with the darker backgrounds (yellow on red, white on green, and red and white on violet).
The exception are the violet units with red and white diamonds, where the red diamonds have probably
been dyed twice.The interior of the diamonds is the same colour as the rectangular unit. The colour
range of the mantle as a whole differentiates between the dark colours of the distinct units and the
lighter diamond colours.
Bibliography and reference textiles: Mantles composed of tie-dyed pieces can be found in
Catalogue 88 (inv. 02-5-247) and Catalogue 89 (Inv. 91-11-35) in the Museo de Amrica, in Madrid
(Jimnez Daz, 2009: 134-5, 136). See a similar piece in Frame (1999b: pl. 25a), which indicates
that there might have been models which were copied. In the MUSEF Collection, a similar tie-dyed
mantle, but of a larger size, consists of 30 pieces in all (in 6 x 5 rows) (Object ID: 20368). On the
technique of discontinuous warp, see Strelow (1996), and on tie-dyed tunics in general, see A. P. Rowe
(2013).
122
CATALOGUE 44
123
124
CATALOGUE 45
125
Half of a bag, possibly a coca-bag, in trapezoidal form, probably in Nasca-Wari style (although it
could also be in Ica style). It is woven in cotton and camelid fibre in the warp and weft, and camelid
fibre in the finishes to the rim and lateral borders. The complete bag would have been formed with the
rear in fine plainweave natural cotton, of which the remnant of only one corner can be seen, with the
side borders united. These borders are finished with double cross-knit loop stitch in distinct colours
(red, blue, white), while the bags rim is finished with triple cross-knit loop stitch, with zigzag motifs
in red, blue, yellow and white, added on to simple overcast stitching on the mouth edge. There are
the remnants of simple overcasting stitching on the lower border of the bag. The structure of the piece
is warped in two, with the technique of funerary double cloth. The lower part of the bag ends with a
section in simple ladder technique with the colour in rows (Aym. patapata).
The bags composition is of ten vertical
rows of stepped designs with volutes and
serrated oblique lines, which constitute
alternating tongue and throne motifs. The
original register compares the designs of
this bag with Mojocoya Middle Horizon
ceramics. The bags chromatic range contrasts
the dark reddish brown camelid fibre with the natural white
of cotton, added to the range of dyed colours in the finishes.
Bibliography and reference textiles: This bag is related to that in
Catalogue 46, in which the whole textile can be seen, unfolded and without
finishes. It is possible that this fragment in valley cotton was produced locally,
while that of camelid fibre (Catalogue 46) has highland influences (possibly
from Mojocoya); this seems to be confirmed in the iconography.
126
CATALOGUE 46
127
Ritual bag, possibly used for the tobacco and coca complex, in trapezoidal form in warp-faced
weave, woven in camelid fibre, possibly in the Nasca-Wari style. The bags construction is of a single
piece, now unfolded with its side seams undone; no seams or finishes are visible. The front part of the
bag presents motifs while the back is plain double cloth in red. The structure is simple, warped in two,
and the technique is simple funerary double cloth. The bags composition consists of three horizontal
bands. The four segments of the upper band each have a felinized llama motif in profile gazing towards
the left, but with distinct attributes. These figures have in common their clawed-hoofs (as seven volutes
with a seed-like sun inside), their seed-like eyes, their tails long and raised like felines, and within the
body a horizontal row of (seed-like) points. In the interstices of one segment is a young felinized llama,
with an S motif (reiterated in other segments) below the body. The central band presents alternating
motifs of an anthropomorph and another felinized llama. The anthropomorph has a frontal pose,
seems to be male, wears a headdress with five vertical elements, has large hands extended downwards,
and in the body interior has two rows of points, and two more seed-like elements at chest level. There
are additional seed-like elements in the upper and lower corners of the same segment. The felinized
llama is again shown in profile gazing leftwards, with the same long and raised feline tail, but has a
normal three-cloved hoof. The llamas back is mountain-shaped, again with a row of points in the body
interior. There are an S motif and seed motif in the segments interstices. Similar examples have been
found in Northwest Argentina. The lower band has narrow segments of tongue and throne motifs
with one and two volutes (tongues) in alternating fashion. The chromatic range contrasts the dark redviolet of dyed camelid fibre with the natural white of cotton.
Bibliography and reference textiles: This bag is related by its form and iconography to that in
Catalogue 45, of which only half the bag is present, but which shows the similar final form.
128
CATALOGUE 47
129
Panel fragment in warp-faced weave, woven in cotton fibre in natural brown and white. It is
probably from the Central or South Coast of Peru in the Middle Horizon, although coastal examples of
double cloth are known since the Early Intermediate Period. The iconography, which combines coastal
and highland elements, suggests this example may be Nasca-Wari. The fragment is of a single piece
without seams. There is a warp extension fringe finish on the upper border, flanked by an intermediate
stripe. The structure of the design bands is warped in two, with a technique of funerary double cloth
with two wefts.
The panels composition is of a single band of double cloth in which four segments (or rows
of designs) repeat in distinct combinations. The upper segment or upper row (which repeats in the
middle section in four additional rows) is of birds in profile with long necks and beaks, with the head
directed downwards (possibly egrets pecking, with their tail feathers extended), intercalated with small
solid squares (which might be seeds or droppings). The segment below this is a row of anthropomorphs
with a frontal pose, possible female, wearing flat (mortarboard-like) headdresses with three elements
on top (associated with a feline head), and with seed-like elements inside the body and below the
genital area. The third segment is organised in modules. Motifs of realistic llamas gazing leftwards in
some rows and rightwards in others, with a double H motif (possibly indicating buildings) above the
humped back, are alternated with other modules of rectangular motifs with eight appendices (possibly
a sun or sprouting seed). These segments or rows repeat in the rest of the piece, and they seems to
have continued in the lower section where the piece is cut or deteriorated. The chromatic range uses
the slight contrast between the natural brown and off-white cotton colours.
Bibliography and reference textiles: Despite being a textile from the coast, the iconography
shows highland elements such as camelids, which may be associated here with the transport of guano
from sea-birds to the valley maize fields.
130
CATALOGUE 48
Panel fragment, possibly a mantle, in tapestry, with the warp and weft in cotton in the plain
sections, and with the weft in camelid fibre in the design sections. There is no information on the
provenance or history of the piece, but it is possibly in Wari style. The construction is of a single
piece without seams or finishes, although there are remnants of seams on the two long borders, which
suggests that this fragment might have formed part of a larger garment, with other panels.
The panels composition has various sections. The central part is a ground or pampa in natural
white cotton, in balanced plainweave. It seems as if the piece was woven from the two sides towards
the centre, finishing the central section with a disguised ending of thick threads. To one side of the
central pampa are two sections of non-slit and dovetailed tapestry, with motifs of stepped fretwork.
Flanking the sides of the central pampa are two wide bands with the technique of weft figures, and with
blocks of motifs, three to one side and two in the other. The three scenes to one side present motifs of
a mythical being or dragon (the so-called dragon-like motif ), with a serpent body and a winged head
at each end. The serpents head in profile has a seed-like eye, and minor stepped motifs (chakana) in its
nose and coming out of its mouth. There are small motifs of animals (vizcachas) and birds within its
body, and in the interstices outside the body. To the other side of the pampa are two blocks of designs,
this time with motifs of the same dragon but with a diamond-shaped body, and four winged heads,
two at each end. There are the same lesser motifs of animals and birds in the interior of the body, and
in the interstices outside the body. The two lateral borders are in plain tapestry in dark red, with a
band of brocade with octagonal motifs with branching elementos inside, which seem to reiterate the
same bicefalous draconian figure, and with additional branching elements between each octagon. The
panels chromatic range contrasts the dark tones of red, brown, blue and green, with white and yellow.
Bibliography and reference textiles: The MUSEF Collection has a similar piece (Object ID:
25776), but in poor condition. The motifs of both pieces are quite distinct from those seen in other
collections, and the octagon figures in particular remind us of some examples of Ming porcelain!
132
CATALOGUE 49
133
Fragment, probably of a mantle, in warpfaced weave, woven in camelid fibre, of which only
the central part has been preserved. It is possibly
in Wari style. The fragment is constructed of two
pieces united in a central seam with simple zigzag
stitching. The plainweave monochrome pampa
has a simple structure, warped in one, and in the
design band the structure in warped in two with
a selected technique counted with the basic odd
derivative, 1|1.
The fragments composition is of a plain
pampa in red, with two design bands (Aym.
palla; Qu. pallay) one to each side of the central
seam. Closer to the central seam are groups of
intermediate-sized coloured stripes (in greenish
blue and black), and narrow stripes in red and
gold. Each design band presents motif variants of
a felinized llama, with a load on its back, claws
instead of hoofs, a long tail coiled upwards, in
various positions, and in some cases pronounced
whiskers. In some variants, the felinized figure
has a seed-like image inside the load on its back.
Another variant is that of a frontal feline, in a
rampant position. A third is of a feline in profile
with a bifurcated tail. A fourth is of a feline in
profile with a coiled tail, and a fifth is of a feline
in profile, again in a rampant pose. Each design
band ends in a section of ladder technique with
the colour in rows (Aym. patapata; Qu. sukasuka),
and the band segments are also separated by rows
of ladder designs. The chromatic range of the
fragment contrasts black and dark tones of red
and green with yellow and brown as light tones.
Bibliography and reference textiles: On
the general techniques applied in this piece, see
Arnold and Espejo (2012a: 204; 2015: 254-59,
266-73).
134
CATALOGUE 50
135
Wide rectangular cloak or mantle in warp-faced weave, woven in camelid fibre, possibly in Wari
style dating to the Middle Horizon. The construction is of two pieces joined in a central seam of simple
herringbone stitching. The remnants of overcast stitching in red yarn can be seen on the borders. In
the plainweave section, the structure is simple, warped in one; in the design bands the structures is
warped in two, and the dominant technique is selected with a basic odd count, 1|1. In addition, the
discontinuous warp technique is applied between the central section and upper and lower monochrome
border, whereas discontinuous weft is applied on the side borders, and the seams are stitched together.
The composition combines the red pampa in the exterior plainweave section with twelve design
bands in the inner section, organised in a stepped form from each side towards the centre. The principal
motifs are variants of two-headed serpents (amphisbaena, possibly the rainbow boa, Lat. Epicrates
cenchria) and batrachians (in some case these might be Amazonian horned toads, Lat. Hemiphractus
scutatus) with ample spawn or seeds inside and in some cases outside the figures, within an overall
theme probably concerned with the rainy season. Overall the composition has the same bilateral
symmetry as modern llijllas. The chromatic range contrasts the dark tones of red-violet, brown and
greenish blues, with yellow-brown, green-blue and red.
Bibliography and reference textiles: See a similar piece in a tunic from Pachacamac, in Catalogue
82 (Inv. 520) from the Maiman Collection in Israel (Makowski et al., 2006 Vol 1: 122-123).
136
CATALOGUE 51
137
The original register for these fragments says manto de Tiwanaku. However, it appears that these
fragments are recombined from two pieces and that the reconfiguration is not correct. The lower piece of
greater size has a lateral seam to one side (the other is not visible) and a central seam, which suggests that
it is really part of closed sleeveless tunic (unku) in Wari style, and not that of Tiwanaku. However, the
smaller upper piece does not have a neck opening, and seems to be another lower piece of a closed unku,
or else the original piece was much larger, with the neck opening much further up. The third possibility
is that the seam presented as if it were the central seam, is in reality a side seam whereas the side seam in
the present configuration is really the central seam. Unfortunately the upper border is cut. In any case,
we are dealing with a Wari tunic in which the lower piece is a closed sleeveless tunic, in a slightly long
rectangular form, in weft-faced weave, woven in camelid fibre.
Despite not knowing the exact construction of the tunic, it is probably of two separate pieces
folded in half at the shoulders. These pieces are sewn in the central (or lateral) axis in figure of eight
stitch, in blocks of yarns of different colours (yellow, brown, golden yellow, light red) leaving the neck
opening (not seen here), and in the lateral seams (or central axis), similarly in figure of eight stitch,
this time with dark brown yarn, leaving the arm openings (not seen here). The lower border lacks a
finish. The plain part of the tunic has a structure for weft-faced weave, warped in one, with a plain
open tapestry technique.
The tunics composition is almost symmetrical around the central axis. There are two wide
rectangles of dark brown in the central part and one to each side, comparable to the wide stripes of a
divided plainweave area (saya) in a modern poncho. These rectangles are intercalated with three design
areas (Aym. palla; Qu. pallay). The design area in the central axis has two vertical bands of motifs in
modular form, one to each side of the central seam, flanked by vertical lines (or narrow stripes) in
dark brown and yellow. The alternating motifs in this case are of part of a face with a divided eye, and
a volute (or hook) as the tongue, each one divided by a vertical curved line in the two-part design
that Sawyer called type IIb (1963). There is an alternation in the sequence, orientation and colour
pattern of these two motifs in each vertical row of the modules. The two lateral design areas are again
composed of two vertical bands, but with wider extensions than those of the central bands, this being
determined by the characteristic Andean form of compressing the sense of perspective from the centre
outwards (Conklin, 1987). This time the motifs are the same, but to a larger scale, with the same
alternation in the sequence and orientation of the motifs (and so of the colour pattern) in each vertical
row of modules. In the case of the lateral bands, these are separated by a vertical line in dark brown
and flanked by vertical lines (or stripes) in dark brown and yellow.
The tunics chromatic range differentiates between the natural camelid fibre tone (in dark brown)
and the natural dyes of the design areas (in light yellow and ochre, light red and white), characteristic
of textiles in Wari style.
Bibliography and reference textiles: For a comparison between Tiwanaku and Wari tunics, see
also Oakland (1986), Oakland and Cassman (1995), and Oakland and Fernndez (2000).
138
CATALOGUE 52
139
Panel fragment in balanced weave, woven in cotton in a natural cream-white and with the
application of a brown dye with moulded stamps. The original register says Chancay, Central Coast
of Peru, but from its characteristics, the fragment is more probably from the Chim culture in the
North Coast of Peru. The structure of the fragment is for balanced weave, warped in one, and the
technique is warp- and weft-faced balanced weave with paired warps, characteristic of Chim textiles,
and associated specifically by Jane Feltham (2006) with works for tributary purposes, to avoid the
exacting tasks of twisting threads finely through spinning. The piece lacks finishes.
The composition of the fragment indicates that it is probably part of the central panel of a larger
piece (possibly a tunic or loincoth). Blocks of marine bird motifs in profile facing right (probably
pelicans or other guano birds), with serrated outlines, are intercalated with a latticed pattern of wide
vertical and horizontal lines with hollow seed-like circles in the interior. A woven border to one side
has the same wide line with hollow circles in its interior. The chromatic range of the fragment contrasts
the natural off-white of cotton with the mid brown dye.
Bibliography and reference textiles: Examples of similar textiles with the application of stamped
dyes, associated with the Chim style, can be seen in the British Museum in London (Am1954,05.631).
140
CATALOGUE 53
141
Object ID: 21238.
Form: Fragment of mortuary belt; Sub-class of Form: Belt fragment, as part of Fragment.
Equivalences: Sp. fragmento de faja mortuoria, huaca, chumbi, chunbe; Aym. waka; Qu. chumpi; Eng. funerary belt.
Size: Intermediate; Dims.: Width: 4 cm; Length: 145 cm.
Period: Late Intermediate (AD 1000-1400).
Style: Unknown; Cultural affiliation: Unknown; Provenance: Central Coast of Peru.
Material: Camelid fibre; Fabric: Warp-faced weave.
Structure and technique: Simple structure for warp-faced weave, warped in 1; Plainweave.
Simple structure for warp-faced weave, warped in 2; Seleted technique counted in fours, 4|4 (in designs);
Simple structure for warp-faced weave, warped in 2; Simple ladder technique with the colour in rows (as a division
between the design sections of the band).
Components: 1 structural component (belt).
Threads: Warp: camelid fibre in S; Weft: camelid fibre in S.
Colours: Natural camelid fibre tones and natural dyes:
Chutney: 18-1433 TPX, mid red-brown borders;
Vanilla Custard: 12-0815 TPX, light yellow-white designs;
Shopping Bag: 19-1213 TPX, dark brown weft and designs;
Golden Brown: 18-0940 TPX, dark yellow-brown designs;
Smoke Blue: 17-4412 TPX, mid blue designs.
142
CATALOGUE 54
143
144
CATALOGUE 55
145
Object ID: 21224.
Form: Mortuary belt; Sub-class of Form: Belt.
Equivalences: Sp. faja mortuoria; Eng. funerary belt.
Size: Intermediate; Dims.: Width: 6.5 cm; Length: 199 cm.
Period: ca. Late Intermediate (AD 1000-1400).
Style: Unknown; Cultural affiliation: Unknown;
Provenance: Unknown, possibly the Central or South Coast
of Peru.
Material: Camelid fibre; Fabric: Warp-faced weave.
Structures and techniques: Simple structure for warp-faced
weave, warped in 1; Plainweave technique (borders);
Simple structure for warp-faced weave, warped in 2;
Selected technique with a basic odd count, 1|1, with 1 weft;
Simple structure for warp-faced weave, warped in 2;
Selected technique with a derived odd count, 2|1, with 1 weft;
Simple structure for warp-faced weave, warped in 2;
Simple ladder technique with colour in rows (design band).
Components: 1 structural component (belt), and 2 attached
components (the cord at each end).
Threads: Warp: camelid fibre in S; Weft: camelid fibre in S.
Colours: Natural tones of camelid fibre and natural dye:
Cocoon: 14-1025 TPX, light yellow-brown throughout;
Dark Slate: 19-4220 TPX, dark blue throughout.
146
CATALOGUE 56
147
148
CATALOGUE 57
149
Long panel fragment in warp-faced weaved, woven in cotton fibre in the natural tones of creamy
white and dark brown, characteristic of certain pieces from Chancay dating to the Late Intermediate
Period. The structure is simple, warped in two, with the technique of warp and weft crossing with
paired warps and visible weft, and a selected figure. There are the remnants of a seam on one of the
long lateral borders where this panel was sewn to another piece; no such seam can be seen on the other
side due to of the fabrics poor condition. The fragment lacks finishes.
The composition is of a central panel flanked by intermediate and narrow stripes, and then by
lateral bands of vertical rows of divided feline heads with seed-like eyes and mouth. The central part of
the panel has diamond motifs with an anthropomorph inside in a frontal pose with raised hands and
feet, and an upward oriented headdress (associated with males), possibly with a feathered crest, and
with pelicans to either side. The anthropomorphs face is also felinized, has the same seed-like eyes and
mouth, and is possibly of the Chim lunar god. Each end of a diamond has additional divided feline
heads with similar seed-like eyes and mouth, and the diamond sides have diagonal volutes oriented
towards the front, like sea waves. The chromatic range of the piece contrasts the natural dark brown
and cream-white cotton.
Bibliography and reference textiles: This technique is examined in Arnold and Espejo (2012a:
187-189; 2015: 236-239). See the application of the same technique in panels with a similar
iconography in the British Museum (Am1983,14.3).
150
CATALOGUE 58
151
Fine headcloth in cotton fibre, made with an interlinked sprang technique (Sp. sprang eslabonado;
Fr. passementerie) with applied lace, forming part of what Makowski et al. (2006 Vol. 1: 222-243) call
the Chancay veils, from the Late Intermediate Period. Each corner was probably finished with twisted
cords as extensions to tie the cloth, but there are now only two of these in opposed corners.
The composition is almost symmetrical. The squared latticework in the base cloth is composed
of paired threads. The main diamond pattern is worked over this, and the interior of each diamond
has an anthropomorphic figure. The complete figure has a long face, open arms, two short legs, and
a headdress divided at the top and extended downwards to each side (possibly to form a half moon)
and with a raised central part, or feathered crown. The divided head, two seed-like eyes and rather
aggressive mouth of some figures echo the feline heads of other textiles from this period. The figure
might be a moon goddess. The figure borders are outlined in applied lace-work in a lighter and thicker
white cotton than the base cloth, to produce the subtle contrasts between the two natural cotton tones.
Bibliography and reference textiles: Details of the sprang technique are found in Seiler-Baldinger
(1994: 51-55). A similar textile, technically and iconographically, is found in the Coleccin Ugo
Canepa del Musei Comunali Rimini in Italy (Inv. A.P. 1132) (Farneti and Laurencich, 2002: 367).
152
CATALOGUE 59
153
Open tunic woven in camelid fibre in the Ica style from the South Coast of Peru, dating to the
Late Intermediate Period. The present tunic construction is of various pieces, some of them modern,
and the originals have many repairs. The tunic borders lack finishes. The neck opening is formed by
the disposition of the pieces around it. In the upper and lower parts of this opening, there is a long
row of zigzagging stitching as reinforcement in red and yellow yarns. The whole piece, warped in one,
presents a mixture of plain warp-faced weave in the black parts, and balanced warp-and weft-faced
technique in the coloured stepped blocks. The tunic is part of the tradition of using techniques of warp
manipulation with discontinuous warp and weft, but in this example other seams present a mixture of
connecting techniques in diagonal stitching and dovetailing (between the different parts of the saya,
and these and the vertical seams of the neck pieces). The composition is almost symmetrical around
the vertical and horizontal axes. The plain central saya is in yellow in one half and red in the other. The
border to the neck opening is in black. The whole tunic border is formed from pieces with stepped fret
designs (possibly allusions to the stepped mountain motif ), alternating the colours red and yellow. The
four corners present motifs of volutes in yellow on black.
Bibliography and reference textiles: On the Ica style in general, see Washburn (1988) and A. P.
Rowe (1979, 2001-2). On the technique of discontinuous warp, see Strelow (1996).
154
CATALOGUE 60
155
156
CATALOGUE 61
157
158
CATALOGUE 62
159
160
CATALOGUE 63
161
162
163
164
CATALOGUE 64
165
168
CATALOGUE 65
169
Object ID: 20156.
Form: Mantle fragment; Sub-class of Form: Fragment.
Equivalences: Sp. fragmento de manta; Eng. mantle fragment, shawl fragment.
Size: Intermediate; Dims.: Width: 65 cm; Length: 120 cm.
Period: Middle Period (AD 400-900).
Style: Provincial Tiwanaku; Cultural affiliation: Tiwanaku; Provenance: San Miguel de Azapa, Arica Interior, Chile.
Material: Camelid fibre; Fabric: Warp-faced weave.
Structure and technique:
Simple structure for warp-faced weave, warped in 1; Plainweave technique (stripes);
Simple structure for warp-faced weave, warped in 2; Simple ladder technique with colour in rows (bands).
Components: 1 structural component (half mantle).
Threads: Warp: camelid fibre in S; Weft: camelid fibre in S.
Colours: Natural tones of camelid fibre and natural dyes:
Cordovan: 19-1726 TPX, dark red-violet borders, ladder designs, two wide stripes and finishes;
Honey Gold: 15-1142 TPX, light red-brown finishes, and ladder designs;
Black Coffee: 19-1111 TPX, black wide stripes, ladder designs and finishes;
Basil: 16-6216 TPX, mid green ladder designs and finishes;
White Asparagus: 12-0104 TPX, off-white ladder designs and finishes;
Bone Brown: 17-1128 TPX, mid brown weft, pampa, border and finishes;
Bracken: 19-1015 TPX, dark red-brown ladder designs and finishes;
Adriatic Blue: 17-4320 TPX, dark blue ladder designs and finishes;
Mantle fragment in warp-faced weave, woven in camelid fibre. The original register claims this
piece is related to Tiwanaku although it may equally well be part of the Maytas-Chiribaya style of the
Western Valleys, dating to the Late Intermediate Period. The fragment seems to be half of a mantle,
given that the border of the brown pampa has remnants of stitching, as if this were the central seam of a
larger garment. The side border bears remnants of finishes in overcasting, and in cross-knit loop stitch
in blocks of colour. The plainweave stripes have a simple structure simple, warped in one, and the
design bands are warped in two with the simple ladder technique with colour in rows. Desrosiers and
Pulini (1992: 64) associate this type of ladder technique with textiles from the Central Coast of Peru,
around Ancn, dating to the Middle Horizon, where they were used as borders in funerary garments.
The composition of this half mantle is of a
natural mid brown pampa flanked by two narrow
stripes in light and dark brown. The lateral borders
have bands of ladder designs with the colour in
rows (Aym. patapata) intercalated with a wide
black stripe and with wide red stripes on either
side. The ladder bands are in bichrome rows, in
red and yellow, green and black, and blue with
black. These possibly express a codification of
colours which has still not been analysed.
Bibliography and reference textiles: A textile
with similar bands of ladder designs is Catalogue
270 (Inv. 932) in the Maiman Collection in
Israel, although the colour combinations are
distinct (Makowski et al., 2006 Vol. 1: 322-323).
See also Desrosiers and Pulini (1992: 64, fig. 52,
and 128, fig. 41) and Young-Snchez (2006: 8993) for similar techniques used in head gear on
the Central Coast of Peru. A similar piece in the
MUSEF Collection is Object ID: 25838. On
ladder designs and techniques, see Arnold and
Espejo (2012a: 155-170; 2013a: chap. 7; 2015:
198-216), and Espejo and Arnold (2014).
170
CATALOGUE 66
171
172
CATALOGUE 67
173
Short, open, sleeveless tunic, in a wide rectangular form, woven in balanced weave in camelid
fibre. The provenance is possibly Pachacamac, dating to the Middle Horizon Period. The construction
is of two pieces, sewn together at the central vertical seam with thick red yarn in diagonal stitching,
and folded in half at the shoulders, leaving the neck opening. The borders of this neck opening lack
finishes. The lower border of the tunic ends with a warp-extension fringe forming fine twisted cords,
with no weft, and this is reinforced above with a horizontal row of weft twining in the same colour
as each tunic half. The tunics structure is for balanced weave, warped in one, and the technique is of
balanced warp- and weft-faced weave.
The tunics composition is symmetrical around the central axis. The left half is dyed red and the
right half is dyed a yellowish green, the tunics chromatic range contrasting these complementary
chromatics.
Bibliography and reference textiles: Similar strong colour contrasts are referred to by Cereceda,
in her essay A partir de los colores de un pjaro, where she explores the meanings of the colour
contrasts called allqa, and their application to certain Andean garments, for example those of the
kusillos, clown characters who move between worlds (Cereceda, 1990: 87-88). See also the work on
complementary chromatic colours in the Andes in Arnold and Espejo (2013a: 166-172). Short tunics
similar to those from Pachacamac, dating to the Middle and Late Horizons, held in the Staatliche
Museen in Berlin (V A 52191, V A 52337 and V A 58747) and collected by Gretzler in 1907, are
illustrated by Strelow (1996: 75-77). The difference is that these have sleeves and the colours are more
subtle tones of brown and white rather than red and green. Another example in the same museum,
without sleeves, is V A 52252, with the same provenance, and possibly from the Late Horizon.
174
CATALOGUE 68
175
Long, rectangular coca bag, without a strap, in warp-faced weave, woven in camelid fibre in the
coloured yarns and in natural cotton tones in the stripes and weft. From the iconography, the bag
is possibly in Provincial Tiwanaku style, from the Southern Highlands or South Coast of Peru, and
dating to the Middle Horizon. The present bag is inside out (possibly as it was found in a burial). The
hidden finish to the two sides is simple overcasting in brown yarn. The plainweave striped areas have
a simple structure, warped in one, and the design bands are warped in two, with the ladder technique
with checkerboard colour and with figure (Aym. kuthu palla; Qu. kuthu pallay), using odd counts.
The bags composition is symmetrical around the central axis, with a pampa divided into the
intermediate-sized off-white cotton stripes, intercalated with four bands of the diamond-shaped
designs called skulls in modern usage (Aym. and Qu. tuxlu), woven in the ladder technique with
checkerboard colour, and with the figures in red (to one side of the band) or green (to the other),
contrasted with off-white. Two of the bands have additional sections of zigzag designs. The bands end
in checkerboard ladder designs without figures (Aym. and Qu. kuthu). The fact that the bag is inside
out, and that the technique is counted in odd numbers, suggest the bag was buried with the dead.
Bibliography and reference textiles: There is a similar bag, but smaller in size, in the MUSEF
Collection (Object ID: 20294). On the use of the checkerboard ladder technique and its meanings,
see Arnold and Espejo (2013a: chaps. 7 and 8), and Espejo and Arnold (2014).
176
CATALOGUE 69
177
Rucksack in a long rectangular form, woven in warp-faced weave in camelid fibre. It is in MaytasChiribaya style of the Western Valleys Tradition, from the South Coast of Peru, dating to the late
Intermediate Period. The rucksack is constructed in one single piece folded in half and then sewn
together at the side seams; there are repairs to these side seams in a thick natural-coloured yarn, in
double overcasting. The rucksack has four braided cords as straps, each one firmly looped to a corner
of the bag, then each pair of straps (upper and lower) is united into one single strap in a section of flat
braiding, so forming the two main straps for carrying the rucksack. In one lower corner strap, a lock
of human hair is wrapped around the strap and then wrapped in turn with a piece of light-coloured
cord. The bag has a twisted cord of various strands attached to the centre of the opening, presumably
to close it. The structure of the stripes is simple, warped in one, with plainweave technique, and the
bands are warped in two with the simple ladder technique with checkerboard colour and with figure.
The composition of the rucksack
is symmetrical around the central axis.
The characteristic wide stripes (of a
divided pampa) in red, are intercalated
with three main design bands. Each
of these is composed of three narrow
bands of checkerboard ladders with
figures in blocks (Aym. kuthu palla),
counted in pairs (2|2), and the three
major bands are intercalated in turn
with four simpler bands, with just one
vertical row of checkerboard ladders
with the figures in blocks. Each of the
three major bands and four minor
bands of ladder designs is flanked by
narrow brown stripes. The chromatic
range of the bag is of dark tones of
red, blue and brown contrasted with
creamy tan or roan.
Bibliography and reference
textiles: The rucksack is similar in
structure, technique and iconography
to that in T.M. 1966.7.131 in the
Textile Museum, Washington, DC
(A. P. Rowe, 1977: 70, Fig. 80). For
more details on Western Valley bags
with wide red stripes of this kind, see
Minkes (2005: 180 etc.).
178
CATALOGUE 70
179
Object ID: 20059.
Form: General ceremonial bag; Sub-class of Form: Ceremonial bag.
Equivalences: Sp. bolsa ceremonial general; Eng. ceremonial bag in general.
Size: Intermediate; Dims.: Width 1: 35 cm; Width 2: 42 cm; Length: 29 cm (x 2 is 59 cm).
Period: Late Intermediate (AD 900-1420).
Style: Maytas Chiribaya-Western Valleys Tradition; Cultural affiliation: Maytas Chiribaya.
Provenance: Arica Coast, Chile.
Material: Camelid fibre; Fabric: Warp-faced weave.
Structure and technique: Simple structure for warp-faced weave, warped in 1; Plainweave technique (stripes).
Simple structure for warp-faced weave, warped in 2; Selected rechnique with a basic odd count, 1|1 (bands).
Components: 1 structural component (bag folded in half), and 10 attached components (various strands of twisted
warp threads united into a single tassel).
Threads: Warp: camelid fibre in S; Weft: camelid fibre in S;
Colours: Natural tones of camelid fibre and natural dyes:
Cedar: 16-0526 TPX, light green-yellow borders and finishes;
Mustard: 16-1133 TPX, light yellow-brown figures;
Fall Leaf: 15-1132 TPX, light red-brown figures;
Orion Blue: 19-4229 TPX, dark blue figures and stripes;
Brown Sugar: 17-1134 TPX, mid brown stripes, and border finishes;
Acorn: 18-1314 TPX, dark roan fringe;
Whitecap Gray: 12-0304 TPX, light off-white fringe, tassels and weft.
Ceremonial bag in a slightly trapezoidal form woven in warp-faced weave in camelid fibre, in
the Maytas-Chiribaya style of the Western Valleys Tradition, from the Arica Coast, dating to the Late
Intermediate Period.
The bag is constructed of a single piece, folded in half,
and united at the two side seams. One of the sides is finished
in simple cross-knit loop stitch in a deteriorated white, and the
other side seam has decomposed completely. The bag opening
is finished in simple overcasting in brown yarn. Attached to the
lower part of the bag are ten long tassels, made from various
strands of twisted warp threads, which are then grouped into
one. The tassels in distinct tones of brown are alternated. The
bags stripes are warped in one with plainweave technique, and
the design bands are warped in two with a selected technique
and a basic odd count, 1|1 (Aym. maya palla; Qu. uj pallay).
The bags composition is symmetrical around the central
axis with intermediate-sized stripes intercalated with four design
bands, although the colours vary in the bands of each half. Each
of the four bands is organised in three segments on each face of
the bag, and each is flanked by three narrow coloured stripes. The
top segment in each band is of a delineated diamond motif with
seeds inside, and with four more small diamonds as appendices
from each corner; additional seed-designs and S motifs are
present in the interstices around the diamond. The other two
lower segments are of a delineated S-shaped two-headed serpent
(or amphisbaena) with an agressive mouth, this time with seeds
inside the body, six small diamonds as appendices, and more
seed designs and S motifs in the interstices around the motif.
The chromatic range of the bag contrasts the dark blue, browns
and roan with the light yellow-brown (and off-white).
Bibliography and reference textiles: On Maytas-Chiribaya
iconography and the Western Valleys region in general, see Horta
(2004). See also Catalogue 55 here.
180
CATALOGUE 71
181
182
CATALOGUE 72
183
Long mortuary belt woven in warp-faced weave in camelid fibre, in one piece without seams. The
belt is in the Maytas-Chiribaya style of the Western Valleys Tradition, from the Arica Coast, dating to
the Late Intermediate Period. Each end has warp extensions without weft, from which extend twisted
warp threads of various strands, forming belt ties. The belt stripes are warped in one, in plainweave
technique, and the design bands are warped in two, with the selected technique counted in pairs, 2|2.
The composition of the belt is of two vertical bands of designs in the central section, separated
by a narrow red stripe and flanked on each side by a group of four narrow, coloured stripes in a
sequence from the outside of blue, yellow, blue and red. The modular motifs in these bands are seedlike concentric hexagons, separated by segments of ladder designs with the colour in rows, in blue and
white. Exceptional segments in the design band have just one large flat concentric hexagon right across
the band, or doubled-up hexagons in each vertical band. The belt ends in a segment of ladder designs
organised in blocks. As a whole, the iconography expresses the theme of regeneration. The chromatic
scheme is of dark tones of blue and orange-red, contrasted with the lighter tones of white and yellow.
Bibliography and reference textiles: Similar designs on a bag from the Late Intermediate Period
(AD 950-1375) from Chiribaya, can be seen in Catalogue 346 in the Museo de Amricas, in Madrid
(Inv. 02-5-214, in Jimnez Daz, 2009: 419).
184
CATALOGUE 73
185
Short, closed and sleeveless tunic, in a wide rectangular form, woven in warp-faced weave in
camelid fibre of which some may be in alpaca. It is possibly in the Maytas-Chiribaya style of the
Western Valleys Tradition, from the Coast of Arica, in Chile, dating to the Late Intermediate Period,
although its provenance may also be closer to the Altiplano.
The tunics construction is of two pieces doubled in half at the shoulders, with a seam sewn in
the central axis with reinforced stitching in Z figures in light brown yarn, leaving the neck opening,
and two side seams with reinforced diagonal stitching in dark brown yarn, leaving the arm openings.
The borders of the arm openings have no finish, apart from a row of reinforced basting stitching in
the same dark brown yarn. The neck opening has no finish either, apart from having a horizontal row
of reinforced basting stitch in the lower part in gray yarn. According to Makowski et al. (2006 Vol.
1: 323), this kind of reinforcement is characteristic of textiles from Chiribaya in the Western Valleys,
and also from the Arica Coast and the Atacama Basin. The tunics lower border also lacks a finish. The
striped area of the tunic is warped in one with plainweave technique, whereas the design bands are
warped in two with the simple ladder technique with checkerboard colour and with figures in blocks,
with an odd count, and in the case of one particular band (possibly as a deliberate mistake) in the
ladder technique with the colour in rows and figures in blocks, with an odd count. The tunic has two
twisted cords attached: one from the shoulder on the left half, its threads continuing in a horizontal
row along the shoulder; the other hangs down from the side seam on the left side.
The tunics composition is almost symmetrical around the central axis. In essence, the design bands
occur in the central axis of groupings of the medium-sized stripes of the divided saya, in natural browns
and grays with a streaked effect. However, the tunics central part and side borders are exceptional,
having narrow coloured stripes rather than design bands in this central axis of the stripes. In addition,
the disposition of the bands and stripes is distinct on each half of the tunic, and the colours of the
designs bands vary too. Notably, on the right-hand side of the tunic, the three bands of ladder designs,
with checkerboard colour and figures in blocks (of dark brown and white), are intercalated with two
distinct bands, one with ladder designs with checkerboard colour and figures in blocks (of gray and
cherry-red), and the other, exceptionally, in ladder designs with colour in rows and figures in blocks
(in the same gray and cherry-red). There is no such ladder band with the colour in rows on the left
hand half of the tunic. The chromatic scheme differentiates between the natural fibre tones of the
medium-sized stripes and the bands of light and dark natural colours or a natural colour contrasted
with a natural dye.
Bibliography and reference textiles: Similar tunics with a divided brown saya can be seen in
Catalogue 269 (Inv. 918) of the Maiman Collection in Israel (Makowski, 2006 Vol. 1: 322-323). See
also Catalogue 74 here. On the ladder designs in blocks from the Western Valleys, see Minkes (2005).
186
CATALOGUE 74
187
Close, short and sleeveless tunic, in a slightly trapezoidal form, woven in warp-faced weave in
camelid fibre, probably in the Maytas-Chiribaya style of the Western Valleys Tradition, dating to the
Late Intermediate Period, although the provenance may also be further east, towards the Altiplano.
The tunics construction is of two pieces folded in half at the shoulders, and sewn in the seam in
the central axis in zigzag stitching in light brown yarn, leaving the neck opening, and on the two side
seams with reinforced diagonal stitching in dark red yarn, leaving the arm openings. The borders of
the arm openings lack finishes, whereas the neck opening is finished in simple overcast stitching in
the same mid brown yarn as that of the seam. There is also a horizontal row of basting stitching in the
lower part of the opening for reinforcement, characteristic of the textiles from Chiribaya, the Arica
Coast and the Atacama Basin, according to Makowski et al. (2006 Vol. 1: 323). The lower border
of the tunic again lacks a finish. The tunic has two braided cords attached, one in white on the left
shoulder, whose threads continue in a row of stitching along this shoulder. The other in white and
mid brown hangs down from the right side seam. The function of these cords is unknown, but in
contemporary communities similar cords called chimpu are attached to the garments of comunarios
(community members) when they carry out communal ceremonies in the ritual sites called pukara, as
the identification marks for each garment. Might there have been a similar function centuries earlier?
The tunic throughout is warped in one, in plainweave technique.
The tunics composition is symmetrical around the central axis. It presents a natural mid brown
saya (the monochrome area) divided into wide stripes, with a streaked effect due to the variations
in tone of the fibre used in the yarn, intercalated with two sets of narrow stripes in each half of
the garment. These sets of narrow stripes are not symmetrical, but each one repeats the same colour
sequence (of red, white, brown, yellow, red, white, brown, blue, yellow and red). Only in one group
does the stripe in the blue position change to brown, and the stripe in the yellow position becomes
turquoise blue. The chromatic scheme of the tunic differentiates between the natural fibre tones in the
wide stripes and the sets of stripes in natural dyes.
Bibliography and reference textiles: Similar tunics with a divided saya in brown, are found, for
example, in Catalogue 269 (Inv. 918) of the Maiman Collection in Israel (Makowski et al., 2006 Vol.
1: 322-323), and there is a Middle Horizon example (c. AD 700) from the site of Chilca (between the
Mala and Lurin Valleys of the Central Coast of Peru), but made of camelid fibre and so probably with
highland influence, in T.M. 1965.40.42 in the Textile Museum, Washington, DC (A. P. Rowe, 1986:
192, Fig. 39). See also Catalogue 73 here.
188
CATALOGUE 75
189
Small bag with a wide rectangular form, probably used in the powedered tobacco and coca
complex, woven in warp-faced weave in camelid fibre. The bag is probably in the Maytas-Chiribaya
style of the Western Valleys Tradition, from the Arica Coast, dating to the Late Intermediate Period.
The bags construction is of one single piece folded in half to form the bag and sewn at the sides.
The finish to the side seams is in simple cross-knit loop stitch in one colour, and with simple overcast
stitching around the opening. The bags stripes are warped in one with plainweave technique, and the
design bands are warped in two with the selected technique with either a basic odd count, 1|1, or a
derived odd count, 2|1.
The bags composition is symmetrical around the central axis, with three bands of designs separated
by narrow coloured stripes. The central band is of a two-headed serpent motif (amphisbaena) in S
form, in a lineal style, with S and Z motifs inside its body and in the interstices around the motif.
This central band is flanked by minor bands of a vertical repeating pattern of zigzags, called nowadays
flowers (paqalitu). The two lateral bands have motifs of volutes with curly tails in a zigzag pattern (of
the type called nowadays siyanu). The chromatic range of the bag is of dark tones of blue, green, red
and brown, contrasted with white and ochre.
Bibliography and reference textiles: On the iconography of the Maytas-Chiribaya style and the
Western Valleys Tradition, see Horta (2004).
190
CATALOGUE 76
191
Coca bag in trapezoidal form, woven in warp-faced weave in camelid fibre, in the Late San Miguel
style from the Arica Coast, dating to the Late Intermediate Period. The bag is of a single piece, united
at the side seams with basting stitch. The lower part is finished with a fringe of twisted cords in blocks
of different tones of red, attached with basting stitch. To one side of the bag opening is a twisted
cord in cotton used either as a strap or to close the bag. The intermediate stripes are warped in one,
in plainweave technique, and the design bands are warped in two with the selected technique with a
basic odd count, 1|1, in the major central band, and with a derived odd count, 2|1, in each side band.
The bags composition is symmetrical around the central axis with its pampa divided into
intermediate purple stripes, intercalated with three vertical design bands, which are flanked in turn
by narrow coloured stripes. The central band has a single segment of continuous obliquely-oriented
motifs of geometrical patterns in dark red and white, as variants on the two-headed serpent motif, but
reconceptualised here as llama-serpents, with S motifs in the head and seed-like hexagons inside the
body and in the interstices around the motif. The two lateral bands have four segments each side of the
bag, and a ground of coloured stripes which contrast with the off-white designs. Three segments have
distinct motifs of volutes on a vertical zigzagging pathway and the fourth is of the triangular forms
known nowadays as either leaves (Aym. laphi) or feline teeth. The chromatic scheme of the bag is of
dark tones of red and gray contrasted with the lighter tones of white and yellow-brown.
Bibliography and reference textiles: On the iconography of the Late San Miguel style, see Horta
(2004).
192
CATALOGUE 77
193
Trapezoidal coca bag made in warp-faced weave in camelid fibre. The bag is in the Late San Miguel
style probably from the Interior of Arica, dating to the Late Intermediate Period. The construction is of
a single piece folded in half and sewn at the sides with basting stitch. The bag lacks finishes or a strap.
However, there is a twisted thread attached to one side of the opening, either as a marker of content
(chimpu) or to close the bag. The structure of the stripes is warped in one, with plainweave technique,
and the design bands are warped in two, with the selected technique with a derived odd count, 2|1,
which generates the geometric designs.
The bags composition is symmetrical
around the central axis, with a pampa divided
into intermediate stripes in red, intercalated with
three design bands (Aym. palla; Qu. pallay),
each one flanked in turn by narrow coloured
stripes. The bands are organised into segments
with distinct designs of volutes, characteristic of
the Late San Miguel style, separated by sections
of ladder designs with the colour in rows (Aym.
patapata; Qu. sukasuka). The ground to the bands
is of coloured stripes which contrast with the offwhite designs. The motifs include flattened volutes
on zigzagging pathways (of the siyanu type) and
pointed volutes in bifurcations (Aym. and Qu.
pallqa). The chromatic scheme contrasts dark tones
of red, violet, brown and ochre with off-white.
Bibliography and reference textiles: A
similar bag can be seen in an example from the site
of Playa Miller 3 (PLM-3 S/R No. 178 30524) in
the Museo Arqueolgico y Antropolgico in San
Miguel de Azapa, Arica. On the iconography of
the Late San Miguel style, see Horta (2004).
194
CATALOGUE 78
195
Mortuary belt woven in warp-faced weave in camelid fibre (probably llama), from the Intersalar
region in the Carangas-Cabuza style, dating to the Late Intermediate Period. The two ends of the belt
are finished in double cross-knit loop stitch and have the remnants of belt ties in braided cords. The
borders are warped in one, with plainweave technique, and the design band is warped in two with the
simple ladder technique with checkerboard colour and figures (Aym. kuthu palla; Qu. kuthu pallay),
counted in pairs (4|4|8), with a final section exclusively in checkerboard colours.
The belts composition is a wide band of concentric diamonds interlinked vertically and
horizontally, with minor diamonds seed-like inside, contrasting the natural tones of brown and white
(possibly in an anaconda design), flanked by plain stripes on the lateral borders.
Bibliography and reference textiles: On the development of this weaving technique in the Late
Intermediate Period in the Intersalar region, see Arnold and Espejo (2013a: chaps. 7 and 8).
196
CATALOGUE 79
197
Belt-bag in Chuquibamba style from the Late Horizon, in a combination of weft- and warp-faced
weaves, woven in camelid fibre. These belt-bags were used for carrying coca leaves in bulk, presumably
for group sessions of coca chewing. The belt is of one single piece but worked in two sections: the front
face is in tapestry and the rear face is in warp-faced weave with stripes in the natural tones of camelid
fibre. The seams at each side are in overcast stitching as is the finish on the upper face, but leaving the
bag opening in the central part. The seam to the left of the opening has a small tassel attached. At each
end of the belt there are interlaced warp threads in a flat form as belt ties. The dovetailed non-slit plain
tapestry and tapestry with supplementary wefts in brocade on the front are warped in one, as are the
plainweave technique stripes in warp-faced weave on the back.
The composition in the tapestry section has a ground of dovetailed, coloured rectangles in a
checkerboard pattern organised in diagonal rows of distinct colours. The basic unit of the composition
of the front section is a pair of rectangles, with a brocaded square in the central part presenting motifs
of single birds in profile, possibly pelicans (or other guano birds) with raised tails (possibly indicating
flight). The brocaded squares have additional rectangular appendices above and below, in plain tapestry.
The chromatic scheme is of diagonal sequences of red, green, yellow, dark blue and white rectangles,
with the motifs in diagonal sequences of white, yellow and green birds contrasted with red-brown.
Referring to similar patterns of composition and colour in other Chuquibamba garments (tunics,
mantles, loin-cloths), some authors propose that these express administrative registers in terms of
visual calendars, which are primarily lunar but intercalated with the solar year (Frame, 1999; Zuidema,
2009). These textiles should be studied in depth to see if they deal with something similar.
Bibliography and reference textiles: There are examples of belt-bags in various museums (for
example Catalogue 279, Inv. 944, of the Maiman Collection in Israel, in Makowski et al., 2006 Vol. 1:
332), however, the detailed iconography varies considerably. On Chuquibamba textiles in general, see
the study by Frame (1999a). See also Catalogue 80 here in the MUSEF Collection.
198
CATALOGUE 80
199
200
CATALOGUE 81
201
202
CATALOGUE 82
203
204
CATALOGUE 83
205
206
CATALOGUE 84
207
This intermediate-sized trapezoidal bag, possibly used in ceremonies related to maize production,
is in warp-faced weave and woven in camelid fibre in Provincial Inka style from the Arica Coast, dating
to the Late Horizon. The bag has a long fringe of warp extensions, and bears the remnants of tassels
on the sides of the bags opening. The side seams have a strikingly complex finish of double cross-knit
loop stitch in various colours (red, yellow, white, blue and green). The stripes are warped in one with
plainweave technique, and the design bands are warped in two with simple double cloth technique,
using two wefts. The bags composition is of wide monochrome stripes (in dark tones of red, blue and
green) intercalated with three main design bands in simple double cloth. These bands present motifs
of an anthropomorph associated with maize (possibly the maize deity), in a modular scheme, on a
ground of coloured stripes which contrast with the dominant red of the figures. The bands are flanked
by narrow bands of single and double triangular motifs called nowadays leaves or feline teeth (in
red and yellow, and blue with white), and then narrow coloured stripes in green and blue, in the same
technique. The bands end in ladder segments with the colour in rows (Qu. sukasuka). The chromatic
scheme as a whole is of dark reds, blues, greens and roan contrasted with white and ochre.
Bibliography and reference textiles: Similar bags are found in the British Museum (Am1982,17.1),
and the Maiman Collection, in Israel (Catalogue 277, Inv. 939, in Makowski et al., 2006 Vol. 1: 330).
An Inka bag with the same motifs in the MUSEF Collection is Object ID 19367. See Jimnezs
comment on the maize anthropomorph (2004a: 395).
208
CATALOGUE 85
209
210
CATLOGUE 86
211
212
213
214
CATALOGUE 87
215
Square fragment of a sleeveless tunic in warp-faced weave, woven in camelid fibre. The tunic is
in Provincial Inka style from the Arica Coast, and dates to the Late Horizon Period. The fragment is
of one single piece, but with upper and lower sections linked by the warp manipulation technique
with discontinuous warps and united by dovetail joins. Like other examples in this catalogue, work on
the complete tunic must have demanded a complex loom with various stakes or separating sections,
and various weavers working on the different parts. The fragment has the remnants of fishbone or
interlacing stitch from a seam on the right side, which implies that it formed part of a two-piece
garment. There are no finishes. The stripes are warped in one with plainweave technique and the design
bands are warped in two, with the motifs in the selected technique with a basic odd count, 1|1.
The tunics composition comprises three design areas (Qu. pallay) intercalated by the divided
saya of wide stripes in dark red. Each design area consists of two major side bands in which the
main segments have the motifs we call bird-tail and seed. We reached this conclusion after studying
other examples of this kind of garment in the Museo Arqueolgico of San Miguel de Azapa and the
Maiman Collection (see below), which present motifs of stylised long-beaked birds in profile, with
their wings and tails in the same form, and equally with flattened seeds inside their bodies (Arnold
and Espejo, 2012a: 174, Fig. 151; 2015: 222, fig. 199). These major bands have other segments with
ladder designs with the colour in rows (Qu. sukasuka), and others of horizontal rows of flattened seeds,
probably maize. The implied meaning of these motifs seems to be that such sea birds bring both seeds
and guano to the highland maize fields. Between each pair of major bands there is a central panel of
intermediate and narrow coloured stripes (in ochre and blue), alternating with three minor bands,
which have segments of zigzags (or serpents) and blocks of half-triangular leaf (Qu. laphi) or feline
teeth motifs separated by ladder segments with the colour in rows. In the context suggested above,
these triangular motifs might express the abundant vegetation of the coastal valleys, with their guano
and wild bird life vital to maize production. All of the design bands end in segments of ladder designs
with the colour in rows. The chromatic scheme overall is of the red stripes contrasted with the design
bands, and within these, of blue contrasted with off-white and ochre, and red contrasted with white.
Bibliography and reference textiles: Once again there are many examples of this kind of
Provincial Inka tunic in different collections: see for example Catalogue 266 (Inv. 905) from the South
Coast of Peru in the Maiman Collection in Israel (Makowski et al., 2006 Vol. 1: 318). Several examples
can be seen in an article about these particular garments by Ann P. Rowe (1996: 19, figs. 24-26). A
more rustic example of an Inka tunic with the same bird-tail motif in the MUSEF Collection is Object
ID: 19337.
216
CATALOGUE 88
217
218
219
220
CATALOGUE 89
221
Wide, rectangular loin-cloth woven in warp-faced weave, in cotton in the warp of the central
pampa, wide stripes, side borders and weft, and in camelid fibre in the design bands. The loincloth is
possibly Late Nasca with Wari highland influence, and might have a provenance from the Southern
Highlands or South Coast of Peru, dating to the Middle Horizon. The loin-cloth is constructed of
two pieces united in the central axis with rather rough overcasting in off-white yarn. There is also a
finish of white overcasting on sides borders, and simple cross-knit loop stitch on the upper and lower
borders. The four corners have extensions of the weft threads to form the twisted thread garment ties.
The structure of the plain part is warped in one with plainweave technique, and the design bands are
warped in two, with the selected technique counted in pairs, 2|2 (Aym. paris palla; Qu. pars pallay).
The loin-cloths composition is symmetrical, with a central pampa in off-white cotton, flanked by
wide stripes in a natural brown cotton, with narrow borders of white cotton on one side and brown
cotton on the other. Each side border has a design band with a central vertical row of concentric
hexagons in blue and white, separated by horizontal lines, flanked by two vertical rows of triangles
(possibly serrated leaves), counterpoised in red with green and blue with yellow. Unusually, the central
horizontal section of the design band is in ladder designs with the colour in rows, and this seems to
be the finishing section throughout. The chromatic scheme overall contrasts the natural white cotton
with brown, and in the camelid fibre bands the blue with white, red with green, and blue with ochre.
Bibliography and reference textiles: The central band of linked diamond motifs with a segment
of ladder designs with the colour in rows is similar to the central band of a mortuary belt in Catalogue
72 here, although the lateral bands of triangles are also characteristic of the later Inka style. An example
of a loin-cloth with similar motifs in the MUSEF Collection is Object ID: 2691, and its provenance
says Nasca in the original register.
222
CATALOGUE 90
223
Short, closed, sleeveless tunic, in a square form, woven in warp-faced weave in camelid fibre.
The provenance is Sevaruyo-Salinas de Garci Mendoza (Oruro, Bolivia), and the tunic is posssibly in
Provincial Inka or the local Late Quillacas style, dating to the Late Horizon Period.
The tunics composition is of two pieces, folded in half at the shoulders, and united in the seam
in the central axis with diagonal stitching in off-white yarn, leaving the neck opening, and at the two
side seams in reinforced diagonal stitching in brown yarn, leaving the arm openings. The borders of
the arm openings lack finishes, but those of the neck opening are finished with cross-knit loop stitch
in blue yarn. The structure throughout is simple, warped in one, with plainweave technique. The lower
border is finished with a warp extension fringe in twisted cords, and those that are extensions of the
stripes are bichrome. Curiously, this fringe has been cut on the front face of the garment, but it is still
complete on the rear face.
The tunics composition is almost symmetrical around the central axis, with an off-white saya
divided into wide stripes with a streaked effect produced by the different tones of fibre used, intercalated
with sets of narrow coloured stripes, although the organisation of the groupings is distinct in each half
of the garment. In the left half, the side groupings are of narrow stripes in dark blue and cherry red,
symmetrically around the central stripe, whereas the central grouping has alternating narrow stripes in
light blue and light red. In the right half, this
is reversed so that the side groupings are of
light red and light blue narrow stripes, whereas
the central grouping is of dark blue and cherry
red. The piece ends at the side borders with
narrow stripes in cherry red. In addition, there
is a vertical band of Z motifs embroidered
in dark brown yarn on the wide off-white left
side stripe of the tunic, and horizontal rows of
running stitches in orange yarn in the middle
of each side, with a vertical row of basting
stitches in the same colour descending from
this, and a short horizontal row below it, again
to either side of the garment. The function of
this stitching is unknown. The colour range
of the tunic differentiates between the natural
fibre tones of the ground and the natural dyes
of the stripes, endings and borders.
Bibliography and reference textiles:
There are no reference textiles for this piece,
but it can be compared with Catalogue 74.
Historical textiles
A Peruvian indian bargains with a fabric seller from Cochabamba. The original drawing from 1830 by Edmond
(Accession No. 05917) is in the Carter Brown Library, Brown University, USA.
226
CATALOGUE 91
227
228
CATALOGUE 92
229
Miniature tunic destined to dress the statue of a saint (thus called in Spanish an unco santo) in
an almost square form, probably from the colonial period. The construction is one single structural
component, folded in half at the shoulders to form the open tunic. The side borders have a plain
tubular finish in yellow, but it is very well-worn.
The tunics composition is of a central monochrome saya in dark brown, with a speckled effect
produced by the contrast between the brown warp and the light red weft. The side borders have wide
light red stripes in which minor sections with the warp threads plyed in S alternate with others plyed
in Z. The borders end with a narrow stripe in the same brown colour as the saya.
Bibliography and reference textiles: Similar tunics, but in full size, can be seen in a ponchito
from Aroma Province (Bolivia) from the eighteenth or nineteenth century (Adelson and Tracht, 1983:
61, Catalogue 5), and the ponchito from Sica Sica (Bolivia) in the William Siegal Collection (1991: 2829) as well as in an Aymara tunic (qhawa) from near Acora, in Peru (Lefebvre, n.d.). Gisbert et al. (2006
[1988]: fig. 86) examine an unku and a ponchillo with a similar style from Colquencha (near Calamarca,
La Paz Dept.), and this might indicate the original provenance of the piece.
230
CATALOGUE 93
231
Miniature closed tunic used to dress the statues of saints in the rural areas of the Altiplano, called
in Spanish an unco santo (saints tunic) or unco santuario (sanctuary tunic). The tunic is in an almost
square form, in balanced weave, woven in camelid fibre, and is probably from the Colonial period.
The construction is of a single structural component, folded in half at the shoulders. The side borders
are sewn on the inside with basting stitch in white yarn, leaving the arm openings. The neck opening
is formed in discontinuous warp. The lower border has a fringe in twisted warp-extension cords, with
a weft of twisted threads above to separate the fringe cords.
The tunics composition is of a monochrome saya in the natural white fibre tone. There are three
doll-like anthropomorphic figures dolls, coloured with natural dyes, stitched to the front and back of
the tunic, but their significance is unclear.
Bibliography and reference textiles: Although there are miniature tunics in balanced weave
from the pre-colonial period (see Catalogue 34 in the Maiman Collection in Israel, in Makowski et al.,
2006, Vol. 1: 70-71), the attached doll-like elements in this example suggest that it is a colonial textile.
232
CATALOGUE 94
233
234
CATALOGUE 95
235
This square tari or coca cloth (called inkua in other regions) is in a single piece, woven in
warp-faced weave in camelid fibre. It is from Coro Coro in the Northern Pacajes style, yet has certain
characteristics of the textiles from the lakeside region. There are still the remnants of a plain tubular
border finish in blue with a ladder pattern in red and white. The plain part of the tari has a simple
structure warped in one, with plainweave technique, and the striking bands of little chain or little
eye designs (Sp. cadenita or ojito) have a structure warped in two, and simple ladder technique with
checkerboard colour, counted in pairs, 2|2, using one weft.
The tari is composed of a natural fibre brown pampa divided into multiple intermediate stripes,
intercalated with the numerous minor bands of little chain designs in distinct colour combinations
(seven across the side pampas and eleven across the central pampas). The little chain motifs, sometimes
called qutu (or ccoto) in Aymara and Quechua, are associated with the harvested products piled up at
the sides of the fields. For this reason, this kind of tari is used for ritual purposes, above all in offerings
to the earth, characteristics which might possibly indicate a longstanding Uru-Chipaya influence. The
tari also has a disposition of three wide coloured stripes, pink in the central axis and blue to each side,
like the historical weavings called iskayu worn by the regional authorities. In the heart (or central axis)
of the blue stripes, other narrow stripes in red are flanked by others in white. The wide central stripe
in pink has in its central axis a design band with Z motifs intercalated with squares, with a complex
structure, warped in three, and ladder technique with checkerboard colour and with figures, counted
in pairs. This design bands is bordered in turn by narrow red and white stripes. The side borders of the
piece have various intermediate and narrow coloured stripes, in light red-brown, dark red and blue,
and red and white. As a result, the tari combines the sets of stripes characteristic of an inkua, with the
wide red and blue stripes characteristic of the iskayu of the regional female authorities.
Bibliography and reference textiles: A similar tari (or inkua) from La Paz Department, dating
to the seventeenth or eighteenth century, is illustrated among the Aymara textiles collected by Adelson
and Tracht (1983: 117, No. 44). This piece also has relations with a range of inkuas and coca bags
in different museums, with these same colour combinations and little chain motifs, with their UruChipaya cultural affiliation. See the inkua from the Arica Coast in the MUSEF Collection (register
3031) and the tari in Catalogue 111 here. See also the inkua (without register) and coca bag (CRR004)
in the Casa del Corregidor, in Puno, Peru, and the coca bag in the British Museum (Am1981,28.140).
For a general analysis of these textile motifs, see Arnold and Espejo (2013a: chaps. 7 and 8). On the
qutu, little chain or little eye motifs, and their possible meanings, see also Lefebvre (n.d.).
236
CATALOGUE 96
237
238
CATALOGUE 97
239
240
CATALOGUE 98
241
242
CATALOGUE 99
243
244
CATALOGUE 100
245
Exceptionally fine, almost square iskayu, woven in warp-faced weave in camelid fibre, in a
Northern Pacajes style from the Early Republican Period. Characteristically this iskayu (or isallu),
consists of striping, without the figurative design areas called in Aymara palla or salta, above all in the
nineteenth century examples. The predominant pattern is of wide stripes in plainweave, like a divided
pampa, with groupings of wide stripes in blue and red, yet without a design area, or with just ladder
designs (Aym. kuthu) or a wide figure to the side of the central seam. This pattern has been consistent
from the early colonial period until the nineteenth century. It is possible that its origins derive from
pre-colonial llijllas, which have a similar composition, but in natural colours. Some very early examples
of iskayus are found in the Yura culture (Rivera, 2009-2011).
The borders of this iskayu have a fine braided finish, with bichrome threads in white and red, and
yellow and blue, attached to the iskayu with a blue thread. The construction is of a single piece. The
plain part has a structure warped in one in plainweave, with a very subtle speckled effect (Aym. chimi).
The narrow bands are warped in two with a ladder technique with checkerboard colour (kuthu), with
an odd count, 3|3, and a single spiralling weft.
The iskayus composition is symmetrical around the central axis. The pampa is divided into wide,
dark blue stripes, with a multiple speckled effect by thread type, by the contrast between the weft
colour (pink) and that of the warp (bichrome blue), and by the use of bichrome threads in the warp
(in dark blue and almost black). The centre of the iskayu presents a modest design area composed of a
central narrow blue-coloured stripe and two intermediate stripes in red, with narrow ladder bands in
violet in the central axis, and then two lateral groupings of red stripes, with two narrow violet stripes
in the central axis. The iskayus borders have narrow stripes in red, blue and violet. The chromatic range
is of reds and blues as dark tone, with violet as a clear tone, but with hardly any contrasts, rather just
plays of light through the speckling effects.
Bibliography and reference textiles: Many iskayus are illustrated in exhibition catalogues, such
as those by Adelson and Tracht (1983: 78-81) and William Siegal (1991: 42-59), but it is less common
to find examples with blue pampas, as in this case.
246
CATALOGUE 101
247
248
CATALOGUE 102
249
Jesuit poncho produced in the nineteenth century on a pedal loom in warp-faced weave, using
sheep wool and cotton fibre (in the white coloured yarns and the weft). Ponchos of this type can be
seen in the drawings by Edmund from 1830, as in the example opening this section (Gisbert et al.,
2006 [1988]: fig. 100).
The ponchos construction is of five pieces of cloth: a central section with two lateral sections to
each side, united with seams of diagonal stitching in white thread. Attached to the ponchos border is a
warp-faced ribbon in ladder technique with the colour in rows (patapata) with a weft-extension fringe
in blocks of distinct colours. Each of the four corners is folded over. The plainweave is warped in one,
whereas the design bands are warped in two, with a paired warp technique.
The ponchos composition is of a design area (pallay) in the central part, and groups of stripes to each
side. In the central axis is a band of concentric diamond motifs bordered by linked zigzags to each side,
flanked by lateral bands of diamond (or X-shaped) motifs, with wide hatched outlines (like modern field
motifs from the lakeside) with what looks like a potato flower in the interior. The ponchos chromatic
range is of reds, greens and yellows are dark tones contrasted with white, but with little colour contrast.
Bibliography and reference textiles: On republican textiles of this type, see Taullard (1949) and
Acevedo (1999).
250
CATALOGUE 103
251
Small poncho or ponchito, described as from the Bolivian lakeside region, but more probably
from the Yungas of La Paz. It is woven in warp-faced weave, of camelid fibre and sheep wool in the
warp, and cotton fibre in the weft. The construction is of two pieces united by a central seam of zigzag
stitching in white yarn, leaving the neck opening. The ponchitos border is finished in an attached
braid in ladder designs with the colour in rows (Aym. patapata) in red and white, and the neck opening
has a semi-industrial cloth border (in green and off-white) attached by running stitches. Each of the
four corners is folded over and stitched. The plain part of the ponchito is warped in one in plainweave,
whereas the bands are warped in two with a selected technique with paired warp (Aym. liyi palla),
using a single weft, given that the designs are single-faced.
The ponchitos composition is symmetrical around the central axis. The saya is divided into wide
white stripes, with one in the central axis, and these are intercalated symmetrically to each side of
the ponchito by a design area to the side of the central axis, a similar design area to each side of the
ponchito, and between them a central band using a different colour pattern. The ponchito ends at each
side with groupings of coloured stripes. The major bands across the ponchito have stylised motifs of
what are said to be coca flowers (in pink and green in the central and lateral bands, and red and blue
in the distinct central bands between them), flanked to each side by minor bands of serrated leaves in
zigzags (in red in the central and lateral bands, and green in the distinct bands between them), and
finally by groups of narrow coloured stripes at each side. The chromatic range of the ponchito as a
whole is of reds, greens and blues as dark tones, with white and pinks as light tones, although there is
little play of contrasts in the textile as a whole.
This ponchito is interesting for the apparent Jesuit influences of poncho design and cloth in
general, and the use of the selected technique with paired warps, called liyi palla, which is neither
characteristic of the lakeside region, nor of the Yungas of La Paz.
Bibliography and reference textiles: A similar poncho in some respects from the Cusco region
can be seen in T.M. 1974.16.86 from the Textile Museum, Washington, DC, in A. P. Rowe (1977:
42, fig. 42).
252
CATALOGUE 104
253
Wide, rectangular coca bag woven in warp-faced weave in camelid fibre, in the Southern-CharkasBolvar style, constructed of a single piece folded in half and sewn at the sides. The sides and opening
have a simple tubular finish (but imitating a complex one). The lower section of one face of the bag
presents three small bags, considered the offspring (Aym. qallu; Qu. ua) of the main bag (and often
used to guard coins or wayruru lucky seeds), in warp extensions finished in a simple tubular border in
pink. Various coloured tassels are also added to the small bags and to the base of the main coca bag.
The bags composition is symmetrical in terms of the designs but not in colour use. Three main
design areas (pallay), intercalated with medium and narrow coloured stripes, are separated by wider
coloured stripes divided by narrow bands of diagonal lines. The main double cloth band in the central
axis has motifs of ramifying flowers, and two side bands of skull motifs (tuxlu). The lateral design areas
have a central band of volutes in pathways, flanked by bands of skull motifs (with the colours reversed
to those of the central area). The bag ends in wide coloured stripes intercalated with narrow bands
of diagonal lines or pathways of volutes. The plainweave structure is warped in one; the double cloth
band is warped in two. Selected techniques counted in pairs, 2|2, and warped in three, are applied
in the bands of skulls, whereas the pathways of volutes and diagonal lines are warped in two. The
chromatic range is of black, gray, reds, oranges, green and violet as dark tones, contrasted with white.
Bibliography and reference textiles: See similar designs in a llijlla (Gisbert et al., 2006 [1988]:
fig. 309) and in coca bags from southwest Cochabamba (Adelson and Tracht, 1983: 129, entry 54).
254
CATALOGUE 105
255
Ethnographic textiles
Altiplano
Suri alpacas from the Puno region, Peru. Photographer: Denise Y. Arnold
258
CATALOGUE 106
259
260
CATALOGUE 107
261
Long and wide mans festive scarf from Ancoraimes, in the Omasuyos style, woven in warp-faced
weave from sheep wool and acrylic yarn. The construction is of a single piece with attached components
in the fringes made up of distinctly coloured blocks in acrylic yarn at both ends; the scarf s side borders
lack finishes. The plainweave technique of the pampa and stripes has a simple structure warped in one,
and the mayor bands are warped in two, with a simple hybrid double cloth technique, similar to that
of the selected technique with a basic odd count, 1|1. By contrast, the minor bands have a complex
structure warped in three, and a selected technique counted in pairs, 2|2, in pebble weave.
The scarf s composition has two repeating patterns side by side. Wide red stripes in the centre
and to each side are intercalated with two main design areas (Aym. palla). Each of these design areas
consists of a major band with festive motifs of guitars, anthropomorphs (men and women in festive
attire), vases of flowers, horses etc., flanked by coloured stripes, then minor bands with motifs in H
called kachi, meaning teeth, warped in three, followed by other intermediate bands with letter motifs
to one side of the major band, and triangles and horizontal lines to the other. The chromatic range uses
dark tones of red, dark pink, green and violet, contrasted with off-white and yellow.
Bibliography and reference textiles: See also the festive scarf in the British Museum
(Am1946,009.2).
262
CATALOGUE 108
263
Small, long and rectangular awayu woven in warp-faced weave, possibly an altar covering (Sp.
mesa-ahuayo) for Aymara rituals, or a fine headcloth (Aym. chuqaa). Mesa-ahuayos were used in
communal gatherings such as cabildos, and the use of a red pampa might confirm this. This extremely
fine example, made in camelid fibre, is in the Northern Pacajes style in the lakeside tradition. It consists
of two pieces united in a central seam with simple zigzag stitching. There are no finishes on the borders.
The structure of the plainweave is warped in one, whereas that of the design bands is warped in two,
using the ladder technique with checkerboard colour and with figure (Aym. kuthu palla), counted in
pairs, 2|2, characteristic of Pacajes and the lakeside region. While this technique gives a pebble weave
effect, it is distinct in its execution, and can be recognised from the distinct termination areas.
The composition of the altar covering is of a red pampa present in each half, with a grouping of
bands of ladder designs and figures (kuthu palla) flanked by narrow coloured stripes in the central
part, and a similar grouping of ladder bands flanked by narrow coloured stripes to each side. The altar
covering ends on each side with intermediate stripes in dark green, interspersed with a narrow band
of diagonal line motifs in the same ladder technique in its central axis. On one side of the cloth, these
green stripes are in fact composed of alternating narrow stripes in dark and light green. The two bands
in the central design area, in violet and white, present motifs of bicephalous birds in profile, other birds
that are flying, diamonds, S motifs and camelids, each set of designs separated by horizontal lines. The
side groupings of bands are in red and white, with the same motifs. The chromatic range of the altar
cloth is of reds, greens and violets as dark tones contrasted with white.
Bibliography and reference textiles: A related piece is Catalogue116. On the history of the use
in the lakeside region of ladder techniques with checkerboard colour and figures, see Lefebvre (n.d.)
and Arnold and Espejo (2013a, cap. 8).
264
CATALOGUE 109
265
266
CATALOGUE 110
267
The name altar cloth (Aym. misa awayu) is reserved for small awayus used for ritual purposes;
this example in the Northern Pacajes style presenting a broad range of reds confirms this definition,
as ritual textiles tend to use this particular colour. This altar cloth has a long rectangular form. The
construction is of two halves united in the central seam with reinforced zigzag stitching. One border
has a complex tubular finish (Aym. apsu sawukipa) with the diamond-shaped designs called silkuta (or
chichilla). The plainweave parts are warped in one, whereas the design bands are warped in two, using
a selected structure counted in pairs, 2|2, in pebble weave.
The composition is symmetrical, with a narrow pampa (as a wide stripe) in dark red-violet in each
half, two major design areas (Aym. palla) in the central part, and a similar design area at each side.
The side borders finish in intermediate stripes in red-brown. Each of the four design areas has a major
band of X motifs with appendices in modular segments, flanked by coloured stripes, then by minor
bands of squares, again flanked by stripes, then at each side of the design areas are intermediate bands
of triangles and seeds. The chromatic range of the cloth is of blacks, reds, dark red-violets and greens
as dark tones contrasted with lighter tones that have now been inundated with reds.
Bibliography and reference textiles: Other examples of altar cloths can be found in Catalogue
nos. 108 and 132.
268
CATALOGUE 111
269
The chuqaa is a particularly fine headcloth. The very finest examples tend to come from Pacajes
and the lakeside region of Bolivia, and these also tend to apply many techniques for producing shot
effects. This example from Achiri, in warp-faced weave, is made in camelid fibre, probably alpaca, and
has a wide rectangular form. The construction is of two pieces united in a central seam, sewn with
diagonal stitching (which present many repairs) in a yarn of the same fuchsia colour as that used in
the weft.
The shot effect of the chuqaa is produced by contrasting the weft colour in fuchsia purple (and
in white on the borders) with the black of the warp, which can both be seen simultaneously because of
the relatively open density of the weft and warp.
Bibliography and reference textiles: Gisbert et al. (2006 [1988]: fig. 70) perceive in this kind of
cloth, with a shot effect in black and red, one used for mourning. See also Catalogue nos. 112 and 113.
270
CATALOGUE 112
271
272
CATALOGUE 113
273
Fine, wide chuqaa in a wide rectangular form, from Achiri, in Pacajes style. The chuqaa, woven
in warp-faced weave, is made in camelid fibre, probably alpaca, in the warp, and has a silk weft. The
construction is of two pieces united in a central seam with diagonal stitching in the same gold yarn as
that used in the weft. The borders lack finishes. The structure of the chuqaa is simple, warped in one,
in plainweave.
The composition is one extensive iridescent pampa. The piece is interesting for the techniques
used to produce its shot effects (Aym. chimi). First, there is the main contrast between the golden
weft and the dark violet warp, both visible simultaneously because of the relatively loose density of the
cloth. An additional shot effect is produced by the use of bichrome threads in violet and black across
the whole warp.
Bibliography and reference textiles: See also Catalogue nos. 111 and 112.
274
CATALOGUE 114
275
Large awayu in warp-faced weave, made in camelid fibre in the Northern Pacajes style, with a
provenance from Collana, near to Sica Sica. The construction is of two pieces united in a central seam
with reinforced zigzag stitching, organised with the threads in blocks of different colours (red, blue,
orange, violet) over a blue stripe. The awayu lacks finishes to its borders. The plainweave is simple,
warped in one, whereas the major design bands are complex, warped in three, with a selected technique
counted in pairs, 2|2. The minor bands also have a simple structure, warped in two, but with the same
selected technique counted in pairs, 2|2.
The awayus composition is symmetrical around the central axis, with a wide brown pampa to each
side. There are two narrow design areas (Aym. palla) in the central part, and the sides of the awayu end
in groups of intermediate and narrow stripes interspersed with narrow design bands of diagonal lines.
Each side border also presents two narrow stripes in blue and brown respectively which have threads
twisted to the left in Z (Aym. lluqi), to stop the awayu from curling at the edges, and also possibly to
protect the wearer. The central design areas to each side of the central seam have a major design band
of interlinked S motifs flanked by intermediate and narrow stripes in tones of red and blue, and to
each side are narrower design bands whose motifs are not at all clear. The chromatic range is of natural
brown combined with natural and artificial dyes. Reds, greens, violets and blues are used as dark tones
contrasted with white, light blue and pink.
Bibliography and reference textiles: This awayu has some of the characteristics of the Sica Sica
style, seen in Catalogue 96.
276
CATALOGUE 115
277
Almost square awayu in warp-faced weave from Patacamaya (Aroma Province, Bolivia) in the
Northern Pacajes style, made in camelid fibre. The construction is of two pieces joined in a central
seam with simple zigzag stitching in light red. The borders have a plain tubular finish in green. The
plainweave pampa and stripes have a simple structure, warped in one, whereas the major bands are
warped in two, with the selected technique counted in pairs, 2|2, in pebble weave. The minor bands
have a complex structure, warped in three, and selected technique with a derived odd count, 2|1.
The awayus composition is symmetrical around the central axis. There is a black intermediatesized pampa to each side. A design area to either side of the central seam has major bands of motifs
of vizcachas, sun-diamonds, hummingbirds (the Andean hillstar), lakeside birds (possibly flamingos
and ruddy ducks), diamonds with appendices, Z motifs with field designs, and S motifs with
diamonds. These major bands are flanked by intermediate and narrow coloured stripes organised in
the characteristic pattern of a wallasa (a striped mantle). Each side border has a similar design area
with a band of the same motifs. The awayu ends at each side border with sections of intermediate and
narrow coloured stripes and finally a minor band warped in three colours (light and dark violet, and
yellow) with the H or kachi (teeth) motifs. The chromatic range of the awayu is of black and dark
tones of red, violet and green contrasted with white, yellow, pink and orange.
Bibliography and reference textiles: There are no reference textiles for this piece.
278
CATALOGUE 116
279
This almost square awayu in warp-faced weave from Aroma Province (Bolivia), in the Northern
Pacajes styles, is made from camelid fibre. The construction is of two pieces sewn together in a central
seam with reinforced zigzag stitching There are no border finishes. The plainweave is warped in one;
the design bands are warped in two, with the selected technique counted in pairs, 2|2, in pebble weave,
with sections of ladder with the colour in rows at the terminations.
The awayus composition is symmetrical around the central axis, with a red pampa (presenting
variation in the tonalities of the warp-thread colours) to each side, a design area (Aym. palla) to each
side of the central seam, flanked by narrow coloured stripes, and a similar design area at each side
border of the piece. The side borders end in wide green stripes, in which lesser stripes of dark and mid
green alternate, and which present a minor design band in their central axis in a structure warped in
two, and counted in pairs, 2|2, with motifs of diagonal lines. The main design areas have major bands
with motifs of fish, two-headed birds, butterflies and paired diamonds with four appendices, flanked
by groups of narrow coloured stripes. The chromatic range of the awayu is of reds, blues and greens as
dark tones contrasted with white.
Bibliography and reference textiles: A related piece is Catalogue 108.
280
CATALOGUE 117
281
282
CATALOGUE 118
283
Almost square poncho in warp-faced weave, made in camelid fibre, from Condo, former centre
of the great Aymara federation of the Asanaques, using the characteristic symmetrical sets of coloured
stripes around the central axis of each group. The construction is of two pieces united in a central seam
with simple zigzag red stitching, leaving the neck opening, which is finished in cross-knit loop stitch
in blocks of distinct colours. The ponchos borders have a plain tubular finish, in green and pink, and
there is a reinforcing stitched fold at each corner. The poncho as a whole has a simple structure, warped
in one, and is in plainweave technique.
The ponchos composition is symmetrical around the central axis. The saya (or pampa equivalent)
is divided into wide red stripes, and each side of the piece has a central and lateral grouping of
stripes. The group near the central seam has a narrow central stripe in red, flanked symmetrically by
intermediate and narrow stripes in blue-green, pink, violet, green and fuchsia. The wider side sets of
stripes have a central pink stripe flanked symmetrically by other stripes in violet, green, blue, dark red,
yellow, orange, dark and light green, violet and fuchsia. Both side borders have a streaked effect in the
wide red stripes, produced by the tonal variations in the warp threads. The main chromatic contrast of
the poncho is between the wide red stripes of the saya, and the groupings of coloured stripes.
Bibliography and reference textiles: On the poncho designs from this region, see Arnold (1994
and 1997).
284
CATALOGUE 119
285
Almost square poncho in Carangas style, woven in warp-faced weave in sheep wool and acrylic
yarn. The poncho is said to have belonged to the male authority of this region, called jilaqata, hence
the use of green in the wide saya, associated with the agricultural production under his charge. The
ponchos construction is of two pieces united in a central seam with zigzag stitching in green yarn,
leaving the neck opening, which is reinforced with blanket stitching in the same green as the saya.
The ponchos borders have an industrial blue fabric attached by machine and the four corners are
reinforced with stitched folds. The plainweave of the saya and stripes has a simple structure, warped in
one, whereas the major design bands are warped in two, with the simple double cloth technique which
has been fashionable in the region over the past decades.
The ponchos composition is symmetrical around the central axis, with the wide undivided green
saya stretching over each half. Design areas (Qu. pallay) to each side of the poncho, consist of one
major design band with motifs of butterflies (a kind of cybdelis), eight-petalled flowers on leafed stems
(these might be mountain arnica), and diagonal stepped lines, possibly inspired by lightning. To each
side of these central bands are sets of stripes with the degradation effects called kisa, in green (around
the central band) and red (to each side). The side borders have narrow red stripes. The chromatic range
is of greens, dark blue and fuchsia as dark tones contrasted with white and lemon yellow.
Bibliography and reference textiles: On the textiles from this region, see Villarroel (2005), and
on the kisa effects, see Cereceda (1987) and Arnold and Espejo (2012b and 2013a, chap. 5).
286
CATALOGUE 120
287
Very fine iskayu from Sajama, in the Carangas style, belonging to a regional authority, man or
woman. The iskayu in a long rectangular form is woven warp-faced weave, in camelid fibre. The
construction is of two pieces joined in a central seam with zigzag stitching in white yarn over the
central white stripe. The borders of the iskayu have a plain tubular finish with ladder designs in red and
green. The whole iskayu is in plainweave with a simple structure warped in one.
The iskayus composition is almost symmetrical around the central axis, with the wide white
stripes (of a divided pampa) intercalated with brown intermediate stripes flanked by narrow coloured
stripes. There are three of these intermediate stripes in each half of the garment. The stripes vary in
their degree of use of a speckling effect (Aym. chimi), and the technique used to produce it. The
intermediate stripes to the centre and at the sides of the iskayu present this effect, but only in one half
of the vertical stripe. The side stripes produce this speckled effect through a warp count alternating
one white thread and one red-violet thread. By contrast, the stripes towards the centre produce this
effect through a warp count alternating one red thread and one red-violet thread. The stripes between
the other two in each half of the iskayu have a speckled effect, but across the whole intermediate stripe,
produced this time by the warp count of one white and one red-violet thread. The chromatic range of
the iskayu contrasts red and red-violets as dark tones with white.
Bibliography and reference textiles: Related to this iskayu is Catalogue 100.
288
CATALOGUE 121
289
290
CATALOGUE 122
291
292
CATALOGUE 123
293
294
CATALOGUE 124
295
296
CATALOGUE 125
297
300
CATALOGUE 126
301
302
CATALOGUE 127
303
304
CATALOGUE 128
305
306
CATALOGUE 129
307
308
CATALOGUE 130
309
Large, almost square llijlla woven in warpfaced weave in camelid fibre, from Ulla Ulla
(Bolivia) in the Kallawaya style and Ulla Ulla
sub-style, characterised by the ample use of
natural fibre tones from the vast camelid herds
of the region, and in this case, by the integration
of vicua fibre into parts of the textile. The
construction is of two pieces united in a central
seam with zigzag stitching with light brown and
in some parts dark brown yarn. The borders lack
finishes. The plainweave parts are warped in one,
and the major design bands are warped in two,
with simple double cloth technique.
The llijllas composition is symmetrical
around the central axis. There are two major
design bands in the centre of each half, with
designs of horses, sun-diamonds with appendices,
and birds with open wings. There are also
segments of Charazani key motifs, divided on
the horizontal axis, and separated by horizontal
lines. These are flanked to each side by narrow
stripes in natural colours (from light to dark gray)
with the degradation effect called kisa. However,
the characteristic feature of the llijlla is the ample
range of intermediate stripes in natural colours
(in tones of gray and brown) combined with
narrow stripes in green, blue, pink, orange and
violet dyed colours. The sides of the llijlla end
with groups of narrow stripes in natural colours.
The chromatic range overall contrasts the natural
fibre tones with the bright artificial dyes. Among
the natural fibre tones, dark brown, roan, gray
and black also contrast with white.
Bibliography and reference textiles:
Compare this Ulla Ulla sub-style with the llijlla
in Charazani style in Catalogue 126.
310
CATALOGUE 131
311
312
CATALOGUE 132
313
314
CATALOGUE 133
315
Very fine, wide, rectangular poncho in warpfaced weave made in vicua fibre, from Camacho
Province (Bolivia) in Kallawaya style. The
construction is of two pieces sewn together in the
central seam by fishbone stitching with extensions
in blocks of acrylic yarn of distinct colours,
leaving the neck opening. The borders are finished
in a plain ribbon in warp-faced weave of the same
brown vicua colour, stitched by machine to the
edges. The neck opening is similarly finished for
reinforcement, and has a bow attached in the
same material above and below this opening.
The plainweave poncho is warped throughout in
one. The composition is symmetrical around the
central axis. The saya and borders in mid brown
vicua fibre contrast with intermediate white
vicua stripes at each side of the central seam
and to each side of the piece, flanked by narrow
white stripes. The chromatic range, and the high
value of this poncho, derive from the use of these
contrasting natural tones in fine vicua fibre.
Bibliography and reference textiles: See a
similar poncho but lacking the central stripes from
the Coleccin CTTC in Del Solar (2007: 88), and
also the vicua poncho in Catalogue 121 here.
316
CATALOGUE 134
317
Wide,
rectangular
poncho in warp-faced
weave, made in camelid
fibre and sheep wool,
from Camacho Province
(Bolivia), in Kallawaya
style. The construction is
of two pieces united in the
central seam with fishbone
stitching in natural gray
yarn, leaving the neck
opening. The ponchos
borders are finished in
a plain ribbon in warpfaced weave, with a weftfringe in blocks of distinct
colours, sewn around the
edges. The ponchos corners
are folded and stitched.
The plainweave saya and
stripes are warped in one.
The major design bands
are warped in two, with a
selected technique counted
in pairs, 2|2 (pebble weave);
complex minor bands are
warped in three, yet apply
the same technique.
The composition of
the poncho is symmetrical
around the central axis. The
wide
naturally-coloured
saya stripes in each half and
the wide border stripes, are
organised into narrower stripes in two alternating tones of gray camelid fibre, with an additional
streaked effect produced by differences in the fibre tones. There are wide design areas (Aym. palla)
to each side of the poncho. These areas have two major bands with motifs of vizcachas, bicephalous
birds, X motifs (sometimes described as roof timbers), diamonds etc., flanked by the complex minor
bands with the H motifs called kachi: teeth, and then by groups of narrow coloured stripes. The two
major band groupings are separated by a wide red stripe, and the design area as a whole is bordered
by more narrow coloured stripes. The chromatic range of the poncho contrasts the natural grays with
the artificial dyed colours of the bands, and within these, uses reds, greens and violets as dark tones,
contrasted with white, orange and yellow.
Bibliography and reference textiles: On the techniques for streaking effects, see Arnold and
Espejo (2012a: 145-151; 2015: 186).
318
CATALOGUE 135
319
320
CATALOGUE 136
321
322
CATALOGUE 137
323
Long rectangular womans overdress or aksu in warp-faced weave, made in sheep wool and camelid
fibre. The aksu is the regional female garment par excellence, which many women take with them to the
grave. This example from Macha ayllu in the Northern Qharaqhara style is special as the application of
the additional tika technique creates modules of light and dark colours in the lower section.
The aksus construction is of two distinct pieces, united in the centre of the pampa with fishbone
stitching in black yarn. The aksu borders have a plain tubular edging (Qu. ina awakipa), in blocks of
dark cherry red and black. The plainweave pampa and stripes are warped in one. The minor checkered
bands at each end are warped in two, in simple double cloth technique. In the upper part of the aksu,
the major and minor bands are warped in two, with a selected technique and derived odd count, 2|1.
In the lower part (to the left of the main image), the major band has a more complex structure, warped
in three, and the technique for the manipulation of colour in layers, counted in fours, 4|4. There are
also minor bands warped in two with selected techniques with a derived odd count, 2|1.
The aksus composition, based on the way it is worn lengthways, has an upper and lower part,
each with wide design areas (Qu. pallay), but the more complex structures, techniques and designs
concentrate in the lower part which is more visible. Both the upper and lower borders (as worn) end in
checkered band of double cloth (Qu. kurti). The upper design areas major band has motifs of linked
diamonds with concentric hexagons (seeds) inside, organised over a base of coloured stripes, and flanked
by intermediate and narrow coloured stripes, and on one side symmetrical blocks of narrow stripes. At
each side of the design area are minor bands of ramifying volutes or hooks, again flanked by coloured
stripes. The lower design area has
a complex major band in tika
technique creating the checkerboard
effect of light and dark colours. The
motifs are organised into two blocks:
one of diamonds with appendices
(suns) and the other in the same
linked diamonds with concentric
hexagons (seeds) as the upper major
band. The chromatic range contrasts
reds, mauves and black as dark tones
with white, orange and yellow.
Bibliography and reference
textiles: On the use and meanings of
the aksu as a garment, see Cassandra
Torrico (2014). See also the use of
the tika technique in Catalogue nos.
138 and 144.
324
CATALOGUE 138
325
Wide, rectangular llijlla in the Northern Qharaqhara style and Macha sub-style, from Macha
ayllu in Bolivia, in warp-faced weave, made in camelid fibre and sheep wool. The construction is of
two pieces joined in a central seam with reinforced zigzag stitching in blocks of different colours, over
an orange central stripe. The borders of the llijlla lack finishes. The plainweave pampa and stripes are
simple, warped in one. The complex major design bands are warped in three, with the technique for
manipulation of colours in layers (called tika), with a derived odd count, 2|1. The simple minor bands
are warped in two, using the same technique.
The llijllas composition is symmetrical around the central axis. There is a wide dark brown pampa
in each half, a major design area (Qu. pallay) either side of the central seam, and a lesser design area to
each side. The complex major bands of these central design areas have motifs of volutes organised along
horizontal zigzags (called siyanu) and the additional tika effect organises these into a checkerboard of
light and dark colours. These major bands are flanked by intermediate cherry-red stripes, and narrow
bands with diagonal line motifs to the sides. The lateral design areas of the llijlla have intermediatesized bands with motifs of interlinked volutes, flanked again by intermediate and narrow coloured
stripes. The side borders end in narrow coloured stripes. The chromatic range of the llijlla contrasts
dark reds, oranges, greens and violet-blues, with white and yellow.
Bibliography and reference textiles: On the llijllas of Macha ayllu, see Torrico (2014). Other
garments with the tika technique can be seen in Catalogue nos. 137 and 144.
326
CATALOGUE 139
327
328
CATALOGUE 140
329
330
CATALOGUE 141
331
332
CATALOGUE 142
333
334
CATALOGUE 143
335
336
CATALOGUE 144
337
Well-worn, wide rectangular llijlla from the mining zone around Llallagua (Bolivia), in the
Northern Charkas style, woven in warp-faced weave in sheep wool. The construction is of two pieces
united in the central seam with fishbone stitching in cherry-red, but with repairs added in other bright
colours (lemon yellow, and red). The borders are finished with a very worn, plain tubular edging in
cherry-red, black and white. The plainweave pampa and stripes are warped in one. The major bands
are complex, warped in three, with the technique for manipulating colours in layers, counted in fours,
4|4. The minor bands are simple, warped in two, with the selected technique counted in pairs, 2|2, in
pebble weave.
The llijllas composition is symmetrical around the central axis. There is a wide black pampa in
each half, and the side borders end in narrow coloured stripes in red and white. There is an intermediate
design area (Qu. pallay) to each side of the central seam, while the borders simply have groupings of
stripes in red, white and black. The major design areas have an added zigzag decoration by machine to
each side (over the pampa) in pink. The complex major band of these central design areas has motifs
of zigzags with four-pointed stars (or flowers) in the interstices, and the additional tika checkerboard
effect of alternating light and dark colours.
The flanking minor bands have motives of
ramifying volutes or hooks. These bands are
then flanked narrow coloured stripes. The
chromatic range of the llijlla is of blacks,
dark pinks and oranges, contrasted with
white.
Bibliography and reference textiles:
Compare this with other examples of the
tika technique, in Catalogue nos. 137 and
138.
338
CATALOGUE 145
339
340
CATALOGUE 146
341
342
CATALOGUE 147
343
344
CATALOGUE 148
345
346
CATALOGUE 149
347
348
CATALOGUE 150
349
350
CATALOGUE 151
351
352
CATALOGUE 152
353
354
CATALOGUE 153
Object ID: 1.
Form: Half aksu; Sub-class of Form: Aksu, as part of Female dress.
Equivalences: Sp. akso, anaco, anako, ancallo, angallo, aaco, axo, cotn, medio acso, saya, sobrefalda, sotana,
sotana sin mangas, urco, urkuyo; Aym. jurkhu, urkhu, urku; Qu. acxo, ajsu, aksu, anaku, ankallu, aqsu, arxo, axu;
Eng. dress, half overskirt, womans half overskirt.
Size: Intermediate; Dims.: Width: 64 cm; Length: 96 cm.
Period: Late Republican (1900-present); Specific chronology: c. 1970s.
Style: Central Yampara; Sub-Style: Presto; Cultural affiliation: Quechua-Central Yampara.
Provenance: Presto, Yamparez Prov., Chuquisaca Dept., Central Interandean Valleys of Bolivia.
Material: Sheep wool and cotton yarn (white); Fabric: Warp-faced weave.
Structure and technique: Simple structure for warp-faced weave, warped in 1; Plainweave (stripes, pampa).
Simple structure for warp-faced weave, warped in 2; Selected technique with a derived off count, 2|1 (major bands);
Complex structure for warp-faced weave, warped in 3; Selected technique counted in pairs, 2|2 (minor bands);
Simple structure for warp-faced weave, warped in 2; Selected technique counted in pairs, 2|2 (minor bands).
Components: 1 structural component (half of the aksu).
Threads: Warp: sheep wool and cotton yarn in S; Weft: sheep wool and cotton yarn in S.
Colours: Natural wool tones and artificial dyes:
Black Coffee: 19-1111 TPX, black pampa;
Greener Pastures: 19-6311 TPX, dark green designs in minr bands;
Raspberry: 18-1754 TPX, mid red designs in miinor bands;
Persian Red: 19-1860 TPX, dark red designs in major bands;
Banana: 13-0947 TPX, light yellow stripes;
Biking Red: 19-1650 TPX, dark red-violet stripes;
Golden Poppy: 16-1462 TPX, mid orange stripes;
Deep Teal: 19-4914 TPX, dark green-blue designs;
Hortensia: 19-2009 TPX, dark violet designs;
Elm Green: 18-0121 TPX, mid green designs;
Natural black wool: weft.
355
356
CATALOGUE 154
357
358
CATALOGUE 155
Half aksu with a black pampa and zigzag with flower motifs
359
A rectangular half aksu in one single piece (probably the lower section), in the Central Yampara
style and Vila Vila sub-style, woven in warp-faced weave in camelid fibre. The borders have a complex
tubular edging (Qu. apsu awakipa) with diamond-shaped chichilla motifs. The plainweave pampa and
stripes are warped in one. Major bands are simple, warped in two, with the selected technique with
a derived odd count, 2|1, and minor bands are complex, warped in three, with the same technique.
The composition is of a black pampa and a single design area (Qu. pallay), where the major central
band presents a striping effect, with the subtle degradation effect, called kisa (in orange, light red
and dark cherry). Half of this band has motifs of concentric diamonds with appendices (Qu. chaska
awi) with flowers and birds in the interstices (Jordn, 1993, 1994b). The other half has motifs of
concentric diamonds but with volutes and flowers, and yet other flowers in the interstices (Qu. mayas
awi) (Jordn ibd.). This central band is flanked by coloured stripes with a light degradation effect.
There follows a lateral band to each side with motifs of multiple zigzags (Qu. mayas qinqu), with
flowers and birds in the interstices. Each side of the design area has complex minor bands with motifs
of chevrons and diamonds in three colours, and finally a narrow orange stripe. The border of the half
aksu (probably the lower edge of the original whole) ends with an intermediate black stripe in the same
tone as the pampa, with the additional effect in its interior of eight narrower stripes with the thread
spun in Z (lluqi). The chromatic range of the piece is of the dark tones of black, cherry, red, orange,
dark pink and mauve contrasted with white.
Bibliography and reference textiles: On the designs and their significance in Tarabuco region
textiles, see the works of Meisch (1986), Jordn (1993, and 1994a and b) and Cereceda et al. (1993).
See also the entries in Catalogue nos. 152, 153 and 154.
360
CATALOGUE 156
361
362
CATALOGUE 157
363
364
CATALOGUE 158
365
366
CATALOGUE 159
367
368
CATALOGUE 160
369
370
CATALOGUE 161
371
372
CATALOGUE 162
373
Large awayu in a wide rectangular form, from Totopalca (Potos, Bolivia), woven in warpfaced weave in camelid fibre (in white) and sheep wool (in black and dyed colours), in the Southern
Qharaqhara style. The construction is of two pieces joined in the central seam with figure eight stitching
with extensions, in yarn organised in blocks of different contrasting colours (red with green, yellow
with violet etc.) over a central black stripe. The borders lack finishes. The plainweave awayu has a
simple structure, warped in one, throughout, and the importance of this piece is in the organisation of
the striping effect, similar to the striped wallasa from Peru, and the regional farming bags (Sp. costal).
The awayus composition is symmetrical around the central axis. In each half are a series of
intermediate stripes intercalated with narrow stripes, in which the pampa-like natural white and black
central stripes are flanked by stripes of different dyed colours. The awayu ends at the sides with a series
of narrow stripes in red and black (like the wayruru seed thought to be lucky), and finally with narrow
stripes in light violet and orange, and a mid green medium stripe. The chromatic range contrasts the
natural tones of black and white with the dyed colours.
Bibliography and reference textiles: On the wayruru seeds, see Cereceda (1987: 160-61, 167184). See Lefebvre (n.d.) on the striped wallasa mantles in lakeside Peru.
Lowland textiles
This selection of lowland textiles in MUSEF gives priority to those from Bolivia, with some
pieces from neighbouring Paraguay, grouped into three major regions with their respective indigenous
peoples:
Amazon region
Araona
Mor
Takana
Yaminawa
Yurakar
Chaco region
General
Ayoreo
Guaran
Ava-Guaran
Isoseo-Guaran
Nivakl
Weenhayek or Mataco
Transition zone
Mojo
There is relatively little written until now about lowland textiles in Bolivia, in terms of specialised
studies on this theme. An exception is the book Textiles A classification of techniques, by Annemarie
Seiler-Baldinger (1994), which analyses many of the weaving techniques from this region. Another
important reference is the Catalogue of the Museo Etnogrfico Dr. Andrs Barbero (MEAB) de la
Fundacin La Piedad, in Asuncin, Paraguay, by Marciela Alfonsina Elas and Ariel Mencia (2012),
which we did not have at hand when we wrote the original catalogue, but which examines many of the
same textile forms in this neighbouring region.
Unfortunately, this is also the case in relation to archaeological textiles, given the difficulties of
textile preservation in the humid conditions of the region, and the sparse use of clothing among the
itinerant groups that frequent or frequented this zone (Szab, 2008: 641). There are some studies of
the woven imprints of textiles in other media, especially the bases of clay pots (Juan-Tresserras and
Villalba, 2002). A number of historical studies focus on the descriptions by Spanish chroniclers who
visited the region in past centuries, and some of these mention the textiles of this region in passing
(Alcala, Lizarraga, Prez de Zurita, Polo de Ondegardo, Ruiz de Montoya, Suarez de Figueroa, Viedma,
DOrbigny etc.). There are also the important ethnographic studies of the first half of the twentieth
century, among them the well-known works by Erland Nordenskild (1919, 1929, 1985 [1912], 1997
[192 1985 [1912] 2]), Alfred Mtraux (1928, 1929, 1946, 1948) and Belaieff (1946).
In addition, there are the ethnographic studies of a new generation of scholars who have lived for
many years in the zone (or in contact with this zone), among them Jrgen Reister, Branislava Susnik,
Isabelle Combs, Bernd Fischermann and Roy Querejazu. The unpublished work by Fischermann and
Quiroga (2000) provides an excellent introduction to the theme of textile production in the distinct
lowland regions. This study also mentions prehispanic weaving and that in the Jesuit missions. Other
important studies are those on the ongoing relations between the lowlands and the highlands, which
mention in passing the flow of raw materials and woven goods, among them Renard-Casevitz et al.
(1985, 1988).
Another group of studies on lowland material culture includes details about textile making. The
works by Juan Gonzalo (for example 1998), of the Centro Argentino de Etnologa Americana, on the
Weenhayek (or Matacos) of the Gran Chaco of Bolivia, are excellent in this respect. There are early
studies about weaving tools and instruments. In the early twentieth century, Frdin and Nordenskild
(1918) compared and contrasted spinning techniques done in a horizontal form with plant fibres such
as cotton, practiced in lowland areas (in the so-called Boror technique), with spinning techniques
done in a vertical form, carried out with animal fibre, practiced in the Andean highlands (in the
technique called Bakar). There are also specialised studies on feather art that mention weaving in
passing (Bravo, 1997) and other studies on the use of vegetable dyes in textile making (Pea, 1976
[1866]; Kitayama, 1991; Centurin and Kraljevic, 1996).
If we are to understand the historical coincidences as well as the differences in material culture
between these regions in contact (lowlands, highland and coast) in distinct periods, a possible route
of analysis of the plant fibre bags made by the Ayoreo and other groups, mentioned in the present
catalogue, is by comparing the construction and techniques used in making these bags with their
counterparts from these other areas, such as the coastal region. Archaeological studies on bags from
the coast have been able to identify two subclasses of everyday bag, each one associated with a different
sex. Mesh bags and the net bags called chinguillo are made in a similar way to those from the lowlands,
378
379
Guaran textiles
380
For their part, Mandiri and Zolezzi (1985: 35-38) identify four styles in contemporary Isoseo
textiles: sumbi, moisi, karakarapepo and the simple style (cited in Combs, 1992: 48). From the
description of these styles, they seem to us to deal with the woven techniques used:
Sumbi: vertical and geometric drawings of cosmic and telluric motifs of stars and serpents of
three colours: one base colour and two colours in the figures.
Moise or moisi, related to the gray serpent (called mboi in Guaran), considered to be the owner
of all weaving designs, and associated with the rainbow and the Milky Way. This style also uses
three colours: a base colour and two colours in the designs, and it is used to make rounded designs
of a baroque type, of plants and flowers, animals and insects. In the studies, this style is called
tapestry.
Karakarapepo, selected techniques counted in pairs, with stripes or zigzags of colour, associated
with the tail feathers of the karakara bird (related to the Andean caracara), in which two or three
colours are used in the designs (Combs, 1992: 48).
The simple style, which is not defined.
In the present day, the karakarapepo style is said to have replaced the importance of sumbi in the
past, considered to be the technique par excellence in those years.
These descriptions demonstrate the close tie between Guaran styles and woven techniques; if we
tinker with this classification system just a little more we can propose the following, in way of a debate:
A Guaran weaver prepares the heddles of her loom to carry out the technique
of karakarapepo. Photograph: Elvira Espejo
381
equivalent to mens singing. A woman with great ability in weaving is compared to a shaman among
the menfolk (Combs, 1992: 65-6).
In terms of the history of Guaran textiles, Combs proposes that the Chan were behind the
origins of at least the style of karakarapepo (Combs, 1992: 70). She also proposes that the knowledge
of these woven techniques on the part of the Chan was acquired, in turn, through their contacts
with Andean groups in ancient times, in the territories under the influence of the fort of Samaypata,
possibly under the Inkas (Combs, ibid.: 71-72). Then the Chan passed on this same knowledge
to the Guarans, when they came under their influence. They say that karakara was the name that
the Chan and the Guarans gave to the Andean populations that they encountered there, possibly a
reference to the presence of warriors from the Qharaqhara federation in that region during Inka times.
These Andean influences in Isoseo textiles have been commented on by Schmidt (1938: 38, 72 and
passim, cited in Combs, ibid.: 72). According to Combs, these same Andean influences can be seen
in the textiles of Valle Grande, a zone that was originally Chan and that also came under Quechua
influences.
With respect to the meanings of the Guaran weaving designs, Combs (ibid.) associates a
diamond-shaped design in the karakarapepo style with the mythological and celestial figure of the
and (the American ostrich or rhea), the lowland counterpart of the black lakes of the Milky Way
which are perceived as the Mother Llama in the Andean highlands, and considered to be the origin of
all the animals.
General observations
In our examination of the lowland textiles in this catalogue, we base our preliminary classification
of meshwork bags on that developed by Elas and Mencia (2012) in their catalogue of Paraguayan
textiles, taking into account form and size. Our nomenclature of designs in Ayoreo bags is based on
the detailed (but unpublished) work by Fishermann and Quiroga (2000).
Other points indicate themes that should be studied at greater depth on another occasion. First,
we note a slight tendency in the lowland female garments and accessories to use threads twisted in a Z
instead of an S direction, as if the twisting in a Z direction (leftwards) had some female connotation.
However, in Ayoreo terminology, they use the term choqui (probably a borrowing from the Quechua
lluqi: leftwards) for the leftspun thread in Z to mean male thread and chequea (from the Quechua
chiqa: rightwards) for the thread spun in S to mean female thread. This aspect needs to be studied
more.
Secondly, we note similarities between the construction and design composition of certain
lowland tunics and shirts (above all from the Mor group) with those of the Uru-Chipaya populations
in the Andes. This is interesting given the insistence on the part of this group that they have distant
lowland origins. There are also similar practices in the making of the net bags used for fishing among
these two groups.
In brief then, there is much research still to be done on lowland textiles in general, and Bolivian
lowland textiles in particular.
Source: http://upload.wikimedia.org/wikipedia/commons/1/14/Amazonia_boliviana_desde_el_aire.jpg
384
CATALOGUE 163
385
Closed, sleeveless tunic or overshirt (unku), used by the Araona people (part of the Takana group),
made in a single piece of beaten bark-cloth using the plant fibre of the bast layer (alburnum) of a species
of fig tree (Sp. bibosi; Lat. Ficus sp., of the Moraceae family). In its construction, the tunic is folded at
the shoulders, and the right-hand seam (almost invisible) is sewn with running stitch, leaving the arm
openings. The neck opening is simply cut into the cloth. The lower part of this neck opening has three
rows of reinforcing cotton-yarn running stitches. The lower border lacks a finish. The structure is for
beaten bark-cloth, as is the technique. The tunics composition is plain, in the natural plant fibre tone.
Bibliography and reference textiles: Nordenskild (1929: 110, fig. 26) examines shirts of this
type (Sp. camijeta; Fr. camise) made in pia fibre (Sp. caraguata), in the Chaco (among the Ashlulay)
and in the Llanos de Mojos during the 1920s, attributing their introduction to missionaries, shocked
by the nakedness of the populations there.
386
CATALOGUE 164
387
388
CATALOGUE 165
389
Textured hammock in
natural cotton fibre, of unknown
provenance but probably from
the Transition zone or Amazon
region. The construction is of
three pieces: first, the hammock
with its warp extensions
forming a fringe on the long
sides; second, the twisted warp
extensions in groups of six
cords, defined by a wrapped
weft at its ending; and third,
the hanging sections of looped
cords twisted in Z, grouped
into the final wrapped loops in
order to hang the hammock on
a solid support. The structure
is for weft twining, and the
technique for a weft wrapping
of double threads.
The hammocks composition (if we compare it to
highland textiles) is of a pampa
divided (into wide stripes)
in a natural cotton colour,
intercalated with medium and
narrow stripes in bichrome
cotton warps (in brown and offwhite). The hammocks texture
derives from the combination
of short segments, defined by
the wrapped warps, in which
the warp threads are stretched,
contrasted with other longer
segments, again defined by the
wrapped warps, but in which
the warp threads loosen, and
because of the high tension,
form multiple kinks. These
kinked segments provide the
hammocks rough texture.
Bibliography
and
reference textiles: See also
Catalogue 164 from MUSEF.
390
CATALOGUE 166
391
Net-bag in an extendible form made in pia plant fibre (Sp. caraguata or garabat) used for
fishing by the Yaminawa people, . The construction is of one single piece in a triangular form, finishing
in the apex at one end where the threads are grouped together, forming a U at the base of the cod
end of the nets pouch. Given that there is no top rim section or throwing bridles, it appears that the
threads at the nets opening are cut. The structure of the pouch is of meshwork with one element, and
the knotted netting technique.
The composition of the net-bag is based on the natural colours of pia fibre. The cod end begins
in white, then, at the nets opening, green and white yarns are combined, and finally, at the widest
part of the net, white yarns are used again. The mesh texture is variable, the knotted diamond shapes
extending in both dimensions at the widest part of the net. The knotted netting technique presents an
insistent diamond pattern in distinct sizes. In some place, there are squares of netting in a dark, almost
black tone, as if they might mark the ownership of the fishing net.
Bibliography and reference textiles: On this technique, see Nordenskild (1929: 206) and
Milln de Palavecino (1973: VII 76). On the use of fishing nets in general from the Chaco region, see
Gonzalo (1998: 233-237). Compare the Uru-Chipaya fishing net in Catalogue 125.
392
CATALOGUE 167
393
394
CATALOGUE 168
395
396
CATALOGUE 169
397
398
CATALOGUE 170
399
A textile in the making on a small vertical A frame loom, used by the Takana people (in the North
of La Paz, Bolivia). The cross poles of the loom are fastened to the vertical poles with strips of pia fibre
(Sp. caraguata or garapat). The loom is accompanied by weaving instruments: a bone separator and
various rods, used in the practice of the transposed warp technique in this example, called marico by
the Takanas, which is a kind of interlaced sprang (Sp. sprang entrelazado; Fr. passementerie).
The textiles composition (it is
probably a hunting bag) is of a pampa
in natural white cotton, with four
areas of designs where the technique
of transposed warps is applied. The
central design areas are composed
of wide dark violet stripes where the
transposed technique forms patterns
of interlinked diamonds; the two
lateral design areas are composed
of three narrow dark violet stripes
(intercalated with narrow white
stripes) where the transposed warp
technique produces zigzags and
diamonds. The chromatic range of the
textile contrasts the natural white of
cotton with the naturally dyed dark
violet.
Bibliography and reference
textiles: Similar pieces can be seen in
Catalogue nos. 24 and 25.
Chaco region
402
CATALOGUE 171
403
404
CATALOGUE 172
405
Quadrangular meshwork
bag, used by Ayoreo men of the
Bolivian Chaco. The bags are
usually made by the women,
and the carrying straps by the
men, using pia plant fibre (Sp.
caraguata or garabat). Eyeless
needles in wood or from the
cardon grande cactus (Sp. cardn;
Lat. Echinopsis terscheckii) are
used to hold the rows in place as
the bag is made.
The bag is constructed of various pieces: the bag itself in a single piece folded over and sewn in a
seam to one side, the extendible sections attached by a loop to both the bag and the strap, and finally
the strap ribbon. The bag is made by the women with a looped structure and technique with the
crossings in S, and the strap by the men in warp-faced plainweave with a simple structure, warped in
one, on a simple loom. The bag opening is finished with simple cross-knit loop stitch in black.
The bags composition is based on wide, horizontal, coloured stripes, called locally umarone, which
express the tail feathers of the caracara (Sp. carcancho), a bird from the tropical semi-arid lowlands,
called in Ayoreo quiraquirai (Lat. Polyborus blancus). This striping effect is considered to be the sign
of the Pikanerai clan. The colours of the bag are completely faded, but the original red was extracted
from a red stone called curud and the original black from mud left to ferment and darken in colour.
Bibliography and reference textiles: On the techniques of meshwork bags, see Nordenskild
(1929: 207) and Gonzalo (1998: 174-176). See a similar bag with horizontal stripes made by the
Bolivian Chorote people (Cat. MEAB 239; Inv. 921) in Elas and Mencia (2012: 122).
406
CATALOGUE 173
407
408
CATALOGUE 174
409
410
CATALOGUE 175
411
412
CATLOGO 176
413
414
CATALOGUE 177
415
Quadrangular meshwork carrying bag used by Ayoreo men, made in pia fibre (Sp. caraguata).
The bag is made by the women, and the strap by the men. The bag is made up of various pieces: the
bag itself in a single piece folded over and sewn in a seam to one side, the extendible sections attached
to the bag and then to a wide loop, which articulates the bag to the strap. The bag has a structure for
meshwork with one element and the looping technique with crossings in S, and the strap is in warpfaced plainweave warped in one. The bags rim is finishes in simple cross-knit loop stitch in red.
The bags composition is of an upper and lower section. In the upper and major section, a
geometric pattern of diamonds in the natural fibre tone on a ground of horizontal stripes in red and
black expresses the dorsal design of the rattlesnake (Ayo. achinguirai; Lat. Crotalus durissus terrificus),
and is called in Ayoreo achinguiraquia, which describes the snakes movement as it reveals this pattern.
This design belongs to the tacore clan. The lower section of the bag has horizontal stripes in red and
black, and the strap has longitudinal stripes in these same colours.
Bibliography and reference textiles: On the techniques of meshwork bags, see Nordenskild
(1929: 207), Gonzalo (1998: 174-176) and Elas and Mencia (2012: 98-100). Similar design patterns
from the Paraguay Chaco, on a bag made by the Toba people, are illustrated in Elas and Mencia (ibid.:
116, Cat. MEAB 128; Inv. TO-102).
416
CATALOGUE 178
417
Quadrangular
meshwork
carrying bag used by Ayoreo men,
made in pia fibre (Sp. caraguata). In
practice, the bag is made by women
and the strap by men. The bag is
made up of various components:
the bag itself in a single piece folded
over and sewn in a seam to one side,
the extendible sections attached to
the bag forming a thick loop which
articulates the bag with the strap,
and the strap ribbon. The bag is
made in a structure for meshwork
with one element and looping
technique with the crossings in
S, and the strap in warp-faced
plainweave, warped in one on
a simple loom. The bags rim is
finishes with simple cross-knit loop
stitch in violet.
The bags composition has
upper and lower sections. The
upper section has two wide
horizontal bands in red and
violet, with a geometric pattern of
interlinked diamonds in the natural
fibre tone, and an additional
checkerboard design in alternating
rows taking up the base colour
(red or violet) contrasted with the
natural tone. This expresses the
dorsal pattern of the rattlesnake
(Ayo. achinguiraquia) as it moves,
and belongs to the tacore clan. The
Lower section has horizontal stripes
in red, violet and the natural tone,
which allude to the sky at dawn.
The strap has longitudinal stripes in
blue and the natural fibre tone.
Bibliography and reference
textiles: On the techniques of
meshwork bags, see Nordenskild
(1929: 207), Gonzalo (1998: 174176) and Elas and Mencia (2012:
98-100).
418
CATALOGUE 179
419
420
CATALOGUE 180
421
422
CATALOGUE 181
423
Quadrangular meshwork bag used by Ayoreo men to guard the stones used to make pigments,
especially curud (to produce a mid red) and tipid (to produce a light red). The bag is made in pia
fibre in one single piece, with the structure for meshwork with one element, and the looping technique
with the crossings in S. The bags construction includes the sections of fixed cords to each side of the
rim, attached to the thick loop that articulates the bag with the carrying strap. The straps ribbon is in
warp-faced plainweave, warped in one, in the natural fibre tone. The bags rim is finished in a thick
band of cross-knit loop stitch in natural fibre.
The bags composition has two segments. The upper and main segment is of geometric interlinked
diamond designs (and in some parts horizontal stripes) in the natural fibre tone on the ground of
wide horizontal stripes in red and blue, now well faded. These designs called in Ayoreo achinguiraqua
(or achinguirakia) express the movement of the rattlesnake (Ayo. achinguirai; Lat. Crotalus durissus
terrificus) revealing this dorsal pattern, and belongs to the tacori clan.
Bibliography and reference textiles: The techniques of meshwork bags are examined by
Nordenskild (1929: 207) Gonzalo (1998: 174-176) and Elas and Mencia (2012: 98-100). A similar
pattern can be seen on a bag made by the Ayoreo-Moro (Cat. MEAB 159; Inv. A 2489), in Elas and
Mencia (ibid.: 123).
424
CATALOGUE 182
425
426
CATALOGUE 183
427
Sitting strap used by Ayoreo men relaxing at home or when out in the semi-arid flatlands and
forest. It is made in warp-faced weave in pia fibre (Sp. caraguata), with threads plyed in S. Ayoreo
men make these straps for their own use on a simple loom made of vertical poles, with the warp looped
horizontally. In this way, the strap has a continuous form, with the thick horizontal holding cord
marking the beginning of the weaving. The plainweave strap is warped in one.
The straps composition is of wide stripes in the natural pia fibre tone, alternating with a stripe
in a natural red dye.
Bibliography and reference textiles: There are no reference textiles for this piece.
428
CATALOGUE 184
429
430
CATALOGUE 185
431
432
CATALOGUE 186
433
Large, hemispherical (in use) meshwork bag, sometimes called a bag formed like a boat or
hammock bag, made in red pineapple or chaguar fibre, used by Ayoreo women to carry heavy
loads when they move camp in the dry season. The women make the horizontal carrier using a weft
twining technique, creating a hexagonal form, and the men make the straps with ribbons in warpfaced plainweave on a simple loom. Once the bag is filled, the opening is sewn up with yarn so that
the contents do not fall out, leaving the bulky form which a woman carries with the strap around her
forehead. Young men usually accompany these groups to open up the new pathway, but sometimes
frail old men remain with the women to help carry these loads. The mesh bag is constructed of
various pieces: the horizontal bag with the looped section at each end hooked around the doubled up
carrying cords, which can be extended by adjusting the knots, and finally the carrying ribbon. The
bags structure is of meshwork with one element, and the looping technique with the crossings in S.
The carrying bags composition is of horizontal stripes (seen vertically in used), in which the
natural fibre stripes (like a divided pampa from the highlands) are intercalated with stripes in black and
red natural dyes, now faded. The strap is in the natural fibre tone.
Bibliography and reference textiles: On the techniques of meshwork bags, see Nordenskild
(1929: 207), Gonzalo (1998: 174-176) and Elas and Mencia (2012: 98-100). A similar bag with
horizontal stripes (vertical when used), probably used by the Paraguayan Ayoreo, is illustrated in Elas
and Mencia (ibid.: 143, Cat. MEAB 211; Inv. MO 2240). On these bags in general, see also Susnik
(1996: : 161) and Elas and Mencia (ibid.: 44-48).
434
CATALOGUE 187
435
Intermediate hemispherical meshwork carrying bag made in red pineapple or chaguar fibre, used
by Ayoreo women to carry heavy loads when they move camp in the dry season. These bags are usually
much larger, which suggests that this example might have belonged to an adolescent. As is usual, the
women make the carrying bag in a structure for meshwork with one element, and looping technique
with the crossings in reinforced S, creating a hexagonal form. Men make the straps in warp-faced
plainweave warped in one,on a simple loom. After filling the bag, the opening is sewn closed, and the
woman carries the bulky bag with the straps ribbon around her forehead, sometimes with the help of
elderly men who often join the womens group. The bag is constructed with the usual looped sections
at each end hooked around the doubled carrying cords, forming two blocks of carrying cords. The
knots can be adjusted to make the bag extendible.
The carrying bags composition is of horizontal stripes (seen vertically in use) where the stripes in
natural fibre tone of a divided pampa are intercalated with intermediate stripes in blue or red from
natural dyes, each with two narrow stripes to one side in the opposing colour.
Bibliography and reference textiles: On the techniques of meshwork bags, see Nordenskild
(1929: 207), Gonzalo (1998: 174-176) and Elas and Mencia (2012: 98-100).
436
CATALOGUE 188
437
A small example of an Ayoreo hemispherical carrying bag, used as a baby carrier, women again
making the bag and men the strap. The bag, as usual, is made in red pineapple or chaguar fibre(Sp.
caraguata) in the structure for meshwork with one element, and looping technique with the reinforced
crossings in S, in a hexagonal form, whereas the strap is made in warp-faced plainweave, warped in
one. The baby carrier, like other bags of this type, is constructed of various components: the bag itself,
the looped section at each end hooked around the doubled up carrying cords in two blocks, which can
be extended by adjusting the knots, and finally the carrying strap and ribbon.
The carrying bags composition is of a divided pampa of naturally coloured horizontal stripes
(seen vertically in use) intercalated with intermediate and narrow stripes in blue, red and green, in
natural dyes, now much faded.
Bibliography and reference textiles: On the techniques of meshwork bags, see Nordenskild
(1929: 207), Gonzalo (1998: 174-176) and Elas and Mencia (2012: 98-100).
438
CATALOGUE 189
439
This unfinished Ayoreo womans skirt, is made in pineapple or chaguar plant fibre. It shows only
the warp threads plyed in Z, organised in coloured stripes, with just two rows of weft wrapped threads
at the central section where the block of warp threads are folded over, so that the wrapped weft rows
form the skirts waist section. The weft-wrapped section has the threads folded over at one end, and
left loose at the other. In practice, a woman holds the other end of the warp threads with her big toe
to hold them tight as she makes the skirt, applying various weft rows wrapping them around the warp.
The composition of the skirt at this stage in its making is of stripes in the natural fibre tone
interspersed with others in red and black in natural dyes.
Bibliography and reference textiles: Related pieces in the MUSEF collection are Catalogue nos.
190, 191 and 192. Nordenskild (1929: 207: Fig. 60.9) illustrates this kind of technique applied in
the Chaco region during the 1920s.
440
CATALOGUE 190
441
442
CATALOGUE 191
443
444
CATALOGUE 192
445
446
CATALOGUE 193
447
448
CATALOGUE 194
449
Saddle cloth in a
single piece used by AvaGuaran riders in the
Machareti region. This
thick cloth is made in
warp-faced weave on a
vertical loom, in sheep
wool. The structure is
warped in two (simple
complementary cloth
with two faces), with
the selected technique
counted in fours, 4|4.
The composition
is of a pampa, with
geometrical
designs
around the borders in
the karakarapepo style,
characteristic of Guaran
weaving. Karakara refers
to the caracara bird (Sp.
carcancho or carcaa;
Lat. Poliborus blancus)
and pepo is wing:
hence, wing of the
caracara bird. For the
Guaran weavers, these
geometrical designs are
also interpreted as stars,
possibly a historical
influence from the
Andean highlands. The
karakarapepo fabric as
a whole presents the
granulated effect of
pebble weave, because
of the technique used.
Bibliography and
reference textiles: A
related piece is Catalogue
193.
450
CATALOGUE 195
451
Modern
table
runner
produced by Isoseo-Guaran
women weavers on a vertical loom
in industrial cotton yarn. This
kind of product tends to be called
tapestry in the region, but is in fact
a warp-faced weave. These fabrics
are manufactured as handicrafts
for sale to tourists in projects
such as CIDAC/Arte Campo (the
Centro de Investigacin, Diseo
Artesanal y Comercializacin
Cooperativa).
The construction of this piece
is of one structural component
with warp extensions, which
have one part in wrapped threads
and the remainder in loose warp
threads. The central band has a
structure warped in two (in complementary cloth with two faces), with a simple hybrid double cloth
technique, which in practice is very similar to the selected technique with a basic odd count, 1 |1. The
borders of the runner are simple plainweave, warped in one.
The runners composition has a single design band in colours, and side borders in plainweave stripes
in black and white. The band has a ground striping effect of five tones of blue with the degradation
effect called kisa. The design band
has a baroque style of figurative
motifs: trees with fruits (possibly
cacao and achiote), flowers, birds
(a flycatcher), animals (sheep)
and insects (butterflies), from the
regional ecology. This characteristic
Isoseo-Guaran style, called moisi
(or moise), refers to a gray serpent
(Combs, 1992: 52). Tradition
holds that a weaver dreamt of this
gray serpent to inspire her with
the motifs she would apply in her
work. This style is characterised
by the use of rounded designs and
three colours: a ground colour
and two additional colours for the
designs (Combs, 1992: 50).
Bibliography and reference
textiles: Similar pieces are
examined in Combs (1992). On
hybrid double cloth technique, see
Arnold and Espejo (2015: 323).
452
CATALOGUE 196
453
454
CATALOGUE 197
455
456
CATALOGUE 198
457
Quadrangular meshwork bag used by men of the hunter-gatherer Nivakl (or Chulup) of the
Bolivian Chaco Boreal to guard possessions and foodstuffs. The medium-sized bag is made in pia
fibre of three pieces; the bag itself, the thick, wrapped ringpieces at either end of the rim, and the strap
whose wrapped ends loop around the intermediate ringpiece. The bags structure is meshwork with
one element, with the looping technique, made using eyeless cardon grande cactus spines (Sp. cardn)
in a fishbone pattern (Gonzalo, 1998: 175-6). The texture of the outer face of the bag has a ribbed
effect, while the inner face is plain. This very dense, looping technique is also used to make mens
overshirts against the cold, and for warfare, as it impedes arrows from penetrating the body. The strap
is in warp-faced weave, made on a small loom, with a ladder technique with the colour in rows.
The bags composition is of wide horizontal stripes (like a divided pampa) in the natural fibre
tone, interspersed with intermediate stripes in natural dyes of dark gray (almost black), dark roan and
brown. The strap has ladder designs in light and dark brown natural dyes.
Bibliography and reference textiles: Nordenskild (1929: 207: Fig. 60.6) illustrates this kind of
technique in use in the Chaco region in the 1920s.
458
CATALOGUE 199
459
460
CATALOGUE 200
461
Quadrangular meshwork bag, possibly made by the Weenhayek people, used by men to transport
their personal belongings. This bag, called hil in Weenhayek (Herbas Morales, 2008: 133), is made
in pia or chaguar fibre (Wee. chagua). The bag is constructed in one piece folded over and sewn in
seams at both sides. This example is incomplete, lacking the carrying cords, and is very worn in places.
The bag has a structure for meshwork with one element, and knotting technique with the crossings
in S, sometimes called mesh interconnections in a figure of 8 (Ribeiro, 1988: 365). The threads are
twisted in S. The bags rim has a looser horizontal band finished in cross-knit loop stitch in a natural
fibre tone.
The bags composition is of geometric designs on both faces in a pattern of squared zigzags (with
a serpentine form), which unite in the upper part of the bag. These designs are organised into narrow
coloured stripes of various natural tones of brown.
Bibliography and reference textiles: On the techniques of meshwork bags, see Nordenskild
(1929: 207) and Gonzalo (1998: 174-176). The structure for meshwork with one element with
crossings in S is also commonly called hourglass looping with S crossing (Seiler-Baldinger, 1994:
15, Fig. 15b). Similar design patterns from the Paraguay Chaco can be seen in the Museo Etnogrfico
Dr. Andrs Barbero, in Asuncin, on a bag made by the Maka people (Cat. MEAB 115; Inv. 1390),
and on one made by the Nivakl (Chulup) people (Cat. MEAB 118; Inv. 1285) (in Elas and Mencia,
2012: 112).
462
CATALOGUE 201
463
Quadrangular meshwork bag used by Weenhayek men, but made by women in pia or chaguar
fibre (Wee. chagua). The bag has a structure for meshwork with one element and knotting technique
with the crossings in S, made with eyeless needles from eyeless cardon grande cactus spines (Sp.
cardn). This example is incomplete, lacking the carrying strap.
The bags composition is of a geometric pattern of interlinked stepped diamonds on both faces,
but with an intermediate section with just wide horizontal stripes. The design is similar to that of
Ayoreo bags which express the dorsal markings of the rattlesnake (called achinguiraquia). The designs
are made in two tones of natural brown, with the dark brown designs contrasted against the light
brown, natural plant fibre tone.
Bibliography and reference textiles: On the techniques of meshwork bags, see Nordenskild
(1929: 207), Gonzalo (1998: 174-176) and Elas and Mencia (2012: 98-100). A similar design pattern
can be seen in the Museo Etnogrfico Dr. Andrs Barbero, in Asuncin, on a bag attributed to the
Argentine Toba but found in Cururenda, Tarija, Bolivia (Cat. MEAB 146; Inv. IA 1054) (Elas and
Mencia, ibid.: 112).
464
CATALOGUE 202
465
Extendible net bag with a rounded base used by Weenhayek women, made by them in pia
or chaguar fibre (Wee. chagua). The bag is constructed from various pieces: the bag itself, and three
attached components: the two looping sections attached to the side of the bags rim, and the various
carrying cords. The structure is for twining and the technique is of twisted or interlinked looping with
the crossings in S. The threads are all plyed in Z. The bags rim is finished in a kind of cross-knit loop
stitch, in the same natural plant fibre tone as the bag. The bags composition combines the textures of
plant fibre with those of the twisted looping net.
Bibliography and reference textiles: Meshwork bags techniques are examined in Nordenskild
(1929: 207), Gonzalo (1998: 174-176) and Elas and Mencia (2012: 98-100). The twining (or
wrapping) structure and twisted (or interlinked) twining technique with the crossings in S are
commonly called twisted looping with S crossing, or else double twisted wrapping or interlinked
mesh (Seiler-Baldinger, 1994: 12, fig. 11a).
466
CATALOGUE 203
467
Loose, quadrangular meshwork bag used by Weenhayek men to transport their personal
belongings. The bag is made in pia or chaguar fibre (Wee. chagua) in a single piece, and has a braided
carrying strap attached to each side of the rim in the same colours as those of the bag. The bag has
a loose structure for meshwork with one element, and looping technique with the crossings in S,
also called mesh interconnections in a figure of 8 by Ribeiro (1988: 365). The
threads are plyed in S. The bags rim is finished in cross-knit loop stitch in
the natural plant fibre tone. The bags composition on each face is of geometric
designs of stepped squares, composed of a central rectangle in black with four
rectangles, one to each of its sides, in reddish brown, possibly a variant of the
highland chakana (Gonzalo, 1998: 315).
Bibliography and reference textiles: Meshwork bag techniques are
examined by Nordenskild (1929: 207), Gonzalo (1998: 174-176) and Elas
and Mencia (2012: 98-100). The type of braided strap for carrying the bag is
also called in English two-dimensional loop braiding (Seiler-Baldinger, 1994:
39). The structure for meshwork with one element, and looping technique with
crossings in S in a loose form, is called hourglass looping with S crossing
(Seiler-Baldinger, ibid.: 15, Fig. 15b). Similar geometrical patterns are found on
bags made by the Tapiet people of Paraguay (Elas and Mencia, ibid.: 126).
468
CATALOGUE 204
469
A Guaran weaver sells her woven examples in karakarapepo style on the outskirts of the city of Santa Cruz.
Photograph: Elvira Espejo
Transition zone
The Canichanas, with their fishing instruments. Illustration: Melchor Mara Mercado (1991 [1841-1869])
472
CATALOGUE 205
473
Glosario
achinguiraquia. Ayo. 1. Ayoreo term for the marks of the American
rattlesnake (Lat. Crotalus durissus terrificus), called in
Ayoreo achinguirai; 2. Ayoreo textile term for a geometric
rhomboid pattern in natural colours on horizontal stripes
in red and black (called achinguiraquia or achinguirakia),
inspired by the skin designs on the back of this snake.
This design belongs to the tacore clan.
odobe. Ayo. Geometric woven design of hexagonal rhomboids
perceived as circles, in a natural colour on horizontal
stripes in red and blue, which is the sign of the Dosape
clan.
ajllira. Aym. Denomination for the re-selected techniques in
warp-faced weave selected by groups, used to select the
colours of woven compositions in blocks. The Quechua
equivalent is aqllira.
allqa. Aym. and Qu. Bicolour, pied, with a marked contrast
between the component colours.
amphisabaena. Eng. Mythical two-head serpent, with generative powers.
apsu. Aym. and Qu. Generic term to refer to complex weaving
structures and techniques that have three and more warp
layers.
apsu kumpa. Aym. and Qu. Complex finishing technique in crochet,
in cross-knit loop stitch with the use of various colours,
applied to woven borders.
apsu sawukipa. Aym. Complex finishing to woven borders in a
tubular form, with the use of various colours and their
manipulation into designs.
awakipa. Qu. Finishing technique to woven borders with simple
(siqa) and complex (apsu) variations. Equivalent to
sawukipa in Bolivian Aymara, and to silku or sillku in
the Aymara of parts of Peru.
awana. Qu. Loom.
away. Qu. To weave.
awayu. etym. Qu. away: to weave. 1. Colonial textile term
that refers to a babys nappy or diapers, which was later
adopted for the awayu, which Andean women use as
both a mantle and a carrying cloth, to carry their babies
and goods on their back. 2. Term for the third stage of
learning to weave, in which a girl learns the techniques
applied in making this particular garment.
away tila. Aym. Category of loom of sufficient size to be able to
weave an awayu.
ayllu. Qu. Andean territorial unit, amply disseminated during
the Inka period, associated with groups related by
kinship and descent. equiv. Aym. jatha.
bakairi. Car. 1. Term (sometimes written bacair) from a
Brazilian Carib language; 2. Technical term for the type
of spindle for spinning and plying used in a vertical way,
as opposed to the Bororo type used in a horizontal way.
476
477
chaska awi.
chaska qinqu.
chimi.
chulla.
chulla palla.
chulla pallay.
dajnua.
dicamichor.
dosapedie.
fringe.
garabat.
guipe.
478
479
480
kuthu palla.
ladder.
laphi.
linku.
lista.
little eye or little chain designs.
liyi palla.
llatunk kumpa.
llaves de Charazani.
llawi llawi.
lloque.
lluqi.
lluqi.
marico.
marimacho.
maya.
maya palla.
481
mayas qinqu. Qu. Textile term for a zigzag design with appendices in
Tarabuco textiles.
m chuymani. Aym. a heart. Term that refers in an awayu or llijlla
with the figurative area in the central axis of the garment,
separated by plainweave and monocolour pampa areas
one each side of the piece.
mboi. Iso. The gray serpent considered to be the owner of all
woven designs, related to the rainbow and Milky Way.
This being is associated with the woven style called moise
or moisi, in which three colours are used, one colour
as the basis and two additional colours in the designs,
characterised by rounded designs of a Baroque type, of
plants and flowers, animals and insects.
mesa-awayu. Sp. etym. Aym. and Qu. misa: altar and awayu. Type of
awayu used in ritual contexts.
mismia. Aym. 1. Technique used mostly by men for twisting
fleece directly in a straight rod, in order to make rope; 2.
Name for the spinning rod used for this purpose.
moise or moisi. Iso. A textile style, in which three colours are used, one
as the base colour with two additional colours in the
designs, which tend to be rounded motifs of plants and
flowers, animals and insects. Some studies call this style
tapestry, although in practice it is a selected technique
in warp-faced weave, with a basic odd count, 1|1.
mortuary belt. Eng. Woven belt buried with the deceased, often
characterised by seed designs as images of regeneration.
multi. etym. Aym. doubled over. Name for a woven design in
the ayllu region of Northern Potos consisting in small
squares in the form of an H, which is usually woven
with a complex structure of three warp layers, and which
expresses a person working doubled over in this way in
the fields. In other regions, this design is called kachi:
teeth.
musa warana. Aym. Model for designing the colour combinations in a
weaving.
naju. Ayo. The carob (Sp. algarrobo or cupes; Lat. Prosopis
chilensis), whose resin produces a red dye is used in
textiles of the lowland region.
ngai. Ayo. Textile design with a pattern of zigzagging lines in
vertical form that usually separates horizontal rectangular
geometrical figures. It is inspired by the markings of the
cutuchi, the red worm lizard or white or white-bellied
worm lizard, a species of amphisbaenian in the reptilian
family (Ayo. ngai pororoi; Lat. Amphisbaena alba). This
design belongs to the Kutamorajai clan.
ngai pororoi. Ayo. Ayoreo name for a variety of cutuchi, a red worm
lizard or white or white-bellied worm lizard which lives
underground (Lat. Amphisbaena alba), whose markings
inspire the design called ngai, consisting of of zigzagging
lines in a vertical form, which usually separates
horizontal rectangular figures. This design belongs to the
Kutamorajai clan.
aaka. Aym. and Qu. A variant of the aksu, the aaka is a
482
palo charo.
palla.
palla wichua.
pallana wichua.
pallay.
pallay llijlla.
pallay yupana.
pallqa.
pampa.
Pantone.
paqalitu.
parisa.
paris palla.
passamenterie.
pata belt.
483
patapata.
patapat palla.
patij.
p chuymani.
484
485
486
487
tila. etym. Sp. Telar: loom. This refers to the loom itself or
the principal loom poles.
tirinsa. etym. Sp. Trenza: braid or plait. Aym. Denomination
applied to the technique of crossed warp with one weft,
practised by girls to make small braids, in the initial stage
of their pathway of learning how to weave.
tirinsa lawa. etym. Sp. Trenza: braid or plait. Aym. Rudimentary
loom formed of rods, used to make the small braidscalled
tirinsa.
tipid. Ayo. Ayoreo term for a coloured stone, ground to
produce a pigment for dyeing a clear red in the regional
lowland textiles.
tocapu. equiv. Qu. tuqapu. Form of woven design in blocks,
usually carried out in tapestry and other weft-faced
weaves, used in the Inka and Early Colonial periods, and
whose compositional meaning has been related to an
Andean form of writing.
spindle whorl. Eng. The base element (usually circular) added to the
lower section of a spindle rod, whose turning adjusts the
thickness of the thread being spun or plyed.
tortera. Sp. Spindle whorl, the base element added to the lower
section of a spindle rod, whose turning adjusts the
thickness of the thread being spun or plyed.
tumi. Qu. Type of sharp knife, in the form of a half-moon.
tika awi. Qu. tika: flower; awi: eye. Name of a woven design
in Tarabuco (Bolivia) and other regions, characterised
by concentric diamonds, rhomboids or lozenges, with
flowers in their interiors.
tisnu. Aym. A narrow strap or tying cord, or a narrow belt.
tisnu iqanta. Aym. Double cloth. Term for the double cloth technique,
whose etymology derives from the belt-like bands using
this technique in woven compositions. equiv. Qu. kurti.
tisnu salta. Aym. Name for the bands of double cloth in warp-faced
weaves of the Altiplano and valleys from the 1980s, inspired
by the introduction of these double cloth techniques from
the Charazani region, disseminated by textile merchants
during the economic crisis of those years.
tisnu tila. Aym. Small backstrap or horizontal loom used to weave
the narrow straps, tie-cords, or narrow belts called tisnu.
tuxlu. Aym. skull. A woven design with this form, usually made
in ladder techniques with intercalated or checkerbaord
colour as the basis, and with the addition skull-like
figures (Aym. kuthu palla). These designs tend to be
found in frontier zones where fights over boundaries
were common in the past.
uj. Qu. One. equiv. Aym. maya.
uj pallay. Qu. Term for the selected technique of counting in odd
counts in warp-faced weaves, selecting and dropping
each warp thread by a basic odd count of 1|1. equiv.
Aym. maya palla.
umarone. Ayo. Textile design characterised by wide horizontal
stripes, that express the tail feathers of the caracara bird
(Sp. carcancho or carcaa; Lat. Polyborus blancus) of
488
unkua.
unku tila.
ua.
vareteado/a.
uywaa.
waraa.
watado/a.
watasqa.
wayruru.
wichua.
wichu wichua.
wincha.
yajogu.
yawri.
489
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