Andean textiles

Through a comparative and multi-sited ethnography in Cusco (Peru) and Bolivia, the article shows how, by mobilizing Andean textiles, local actors are weaving social change(s) while also changing the way of weaving. These two ideas are interwoven: 1) Andean textiles contribute to local population to weave social change(s) by bringing alternative economic opportunities; 2) weaving practices are changing, since new fashionable, industrial, and “hybrid” production has been created and adapted to an urban-oriented/tourist-oriented market which provides money to make the social change(s) possible.

Recommended Citation
Terry, Cristian. "Weaving Social Change(s) or Changes of Weaving? The Ethnographic Study of Andean Textiles in Cusco and Bolivia." Artl@s Bulletin 9, no. 1 (2020): Article 6.

Full article, free download : https://docs.lib.purdue.edu/artlas/vol9/iss1/6/

Abstract:
This paper presents research on the ritual function of miniature textiles in Pre-Columbia Andean cultures and their continued use in the present. I attempt to discern the symbolic and ritual functions that are suggested by the contexts in which miniature textiles appear. The following theoretical interpretations are proposed. First, that a causal connection between microcosm and macrocosm underlines the creation and ritual manipulation of miniatures. Second, because of the implied human presence that clothing evokes, the ability of clothing to function as a metaphor for the human body, I suggest that offering of woven clothing, both miniature and full-scale, may have been symbolic substitutions for actual human sacrifice. Finally, I argue that the intrinsic value and ritual efficacy of miniatures may have been enhanced rather than diminished when compared to their full-scale correlates.

In this paper we explore the iconography of Tiwanaku and its role to integrate the frontiers zones of South Central Andean area like the Azapa valley and San Pedro de Atacama oasis in northern Chile. We think that in the Tiwanaku expansive process the sanctions to help central hierarchy and the strategies employed to integrate peripherical zones had an ideological and political nature. The material expression of this was the iconography of lithic sculpture of site in Titicaca altiplano that it was displayed on portable objects, creating the interaction and influence sphere of Tiwanaku. Based on this idea we studied several archaeological collections from southern Perú, central and south Bolivia and northern Chile. Particularly, we focus on textile and pottery study of Azapa valley and San Pedro de Atacama oasis, to determine the center periphery integration grade -territorial or hegemonic- during the Middle period.

Il ne viendrait à l'esprit de personne de poser un verre à pied sur une table en position couchée, sauf si l'on veut signifier un certain désordre. Dans le cas des tissus, la situation est plus complexe car, si le sens de l'objet est fixe pour le tisserand (dans l'action) qui fait ...

Until now, the cultural sequence of San Pedro de Atacama -principally of pottery and cemeteries-, is the most important referent to the archaeological study of Atacama territory. Nevertheless, the researche increase since sixties in the Río Loa region -especially of domestic sites-, enlarge and change the peception of circumpunian late phehistory displaying a break of San Pedro culture continuity, because a post Tiwanaku altiplanic presence and the particular character of "atacameño" in the Loa region. In this sense, this break have meant significant differences to try and understand this moments in both zones, associated to a useful Historic Cultural approach, but its concepts needs revision. Therefore, continuing the experience in other localities (i.e., Turi, Caspana and Quillagua), we begin to discuss the Atacama cultural unit and its particularities since the revision of San Pedro later phases: Yaye, Solor and Catarpe, through systematics studies of materials collecti...

En Ramón Mujica et al., Arte imperial Inca: Sus orígenes y transformaciones desde la conquista a la independencia, pp. 274-311 (pp. 152-183 del pdf). Lima: Banco de Crédito.

https://www.fondoeditorialbcp.com/publicaciones/arte-imperial-inca/

The Michael C. Carlos Museum of Emory University received a red-tasseled textile as a donation in 2004.  When received the textile was “wadded” into a bag. It was indecipherable as to how many objects were included, or if they even belonged together.  In 2005 minimal conservation was used dismantle the “wad” providing a clearer idea of its contents.  Three sections of a red-tasseled textile were discovered and are the focus of the current study.  Several unique features include: a slit tapestry woven outline foundation that surrounds alternating squares, one type depicts brilliant tapestry woven figures; these squares are obscured with decorative red-tassels; the alternating “square” is a floating roundel with embellished tassels that protrude from its center. Far from being flat, this textile pushes the limits of dimensionality with four layers of fiber elements.  The weave structures, style and iconography indicate Chimú manufacture; a limited number of textiles with similar characteristics corroborate Chimú origin. The paucity of similar textiles indicates the rarity of this high status textile.  Before this textile could be displayed, extensive conservation treatment was necessary to stabilize the areas of loss and provide a suitable display that enabled both the tassels and the figures underneath to be viewed.  This presentation aims to contextualize this textile within the greater production of Chimú textiles and outline the conservation techniques utilized to preserve this high status costume while enabling its display.