Tubular textiles or weaves as examples of non-recilinear warp face usually finish off the outer borders of the garment. They are added to the fabric with weft, that is manipulated with a needle in a spiral pattern.
Funerary garment, made from four square pieces joined together, and according to some descriptions could measure from 80 to 100 cm, and used to cover the false heads of the bundles.
Modern cloth produced on industrial looms whose weft and warp have a balanced relationship. In the recent past the threads were usually of cotton and are now of artificial fibres.
Non-rectilinear warp faced weave produced by crossed warp techniques. It is set up on a simple loom with a pole to make the warp threads tense and then the interacting elements are manipulated by hand.
Instrument that allows the warp to be secured, with the latter's threads being attached to added accessories and alternatively raised creating a space through which the weft can be introduced. In the Andes various types of loom were used: the waist or belt loom, the horizontal loom and the vertical loom, all of these basically composed from two main poles that secure the warp, and two poles to raise alternatively each of the heddles and introduce the weft in the intermediate space (the calada, or opening).
Type of loom characterised by its simplicity and the use of a single cross pole, that the girls in the Andean region use to learn how to make shawls or braids (in Aymara tirinsa) warp face. The stability of this type of loom is achieved by gripping the pole in the toes.
Variant of the loom developed in the East and brought to the Andes at the end o the 16th century by the Spaniards mainly to make baize or rustic cloth. The movement of the heddles is produced by a system of pedals. The tension of weft and warp threads is fixed and maintained by the solid wooden frame of the loom.
Electrical variety of loom developed originally in Europe and introduced into the Andes in the 20th century to make industrial cloth via digital instructions. The tension of the warp and weft threads is fixed and maintained by the solid metallic frame of the loom.
Traditional variety of Andean loom in which the tension of the warp and weft threads is fixed and maintained by the set of stakes, ropes and fixed poles of the loom frame which place the loom parallel to the ground. The loom consists of an array of main stakes poles which fasten the warp and another set of mobile poles to alternately raise each of the heddles and introduce the weft into the intermediate space (the opening).
Mechanical variant of the loom developed originally in Europe and introduced into the Andes in the 19th century to elaborate industrial fabrics. The tension of the warp and weft threads is maintained by the solid metal frame of the loom.
Variety of loom in which the tension of the warp and weft threads is fixed and maintained by the main poles attached to structures that keep the loom perpendicular to the ground, and in some cases, additional weights on the ends of the warp threads. In the Andes this loom variant is generally used to produce tapestry work.
Process by which colour is applied, with the aim of changing the original colour of the material to one different from the material's natural range of colours. The colour can be applied in various ways: i) to the raw animal fibre; ii) to the thread by putting it into an aqueous solution of dyes and mordants; iii) to the threads by direct application of a pigment with cloth or different sized brushes.
Process by which the twisted thread, especially alpaca thread, is tautened and stretched, as raw material for textile production, by tightening it manually and wrapping it round a solid object or with an instrument for this purpose.
Instrument that tautens the threads during the warp process of those threads on the loom. It is especially used with alpaca fibre to avoid the formation of clumps or snags if it were spun without keeping it tense.
The full set of forms of participation in and access to the objects and meanings of textile production, in addition to the settings of action and textile valuation.
Textile object or objects in dispute between different entities such as countries, regions, groups, or between groups and institutions, in relation to their heritage value or their part in a market of illegal trafficking.
Use of textiles, especially textile composition and iconography to document farming and pastoral production, by the attention paid to certain areas (pampas, figures), the use of stripes of different widths and specific figures, as well as the use of different colours and textures in the case of khipus.
Textile of specific characteristics, e.g. the use of natural colours, figures of fodder or pasturing grounds, places of cultivation and agricultural implements, used in agricultural contexts during the annual cycle.