Double (or multiple) variants of the mesh techniques produced by wrapping the active thread various times round the immediate points of the previous pass that forms the cross. The application of crosses in certain mesh rows can be skipped, fixing them later in other rows, to produce patterns of different types. In all these cases, the structure is simple, equivalent to a warp of a single layer.
Structure based on a horizontal element whose continuous intertwining produces rows that generate the textile surface, of a simple type, equivalent to a single warp layer.
In the Andean context, the term 'sprang' includes techniques of interlacing, oblique interlacing and oblique twining/plaiting. In all these instances the elements of the warp are worked without use of a weft, and the structure is simple, equivalent to weft in 1.
Plaiting techniques work a single ensemble of elements, with oblique interlacing technique. The plaiting structure refers to the quantity of strands that are worked, generally also connected to the quantity of colours.
All the structures for crossed warp with 1 weft, in their tubular form they are warped in a single layer, in simple form. However, more complex examples can be produced adding more colours to the warp threads.
All the structures for crossed warp with 1 weft, in their tubular form, they are warped in a single layer, in simple form. However, more complex examples can be produced adding more colours to the warp threads.
The structures of all the variants of crossed warp with multiple interlaced wefts are warped in 1 layer. Then the threads are separated in blocks with their own heddles to facilitate the crossing of the threads as a whole and so produce a design.
Simple structure, equivalent to warping in a single layer. In the simple oblique interlacing structures strands of only two different colours are used.
All the structures for crossed warp with a single weft, in tubular form, are warped in one layer in simple form. The simplest forms have less than 3 colours and a small number of warp threads.
In the simple examples of crossed warp with 1 weft, the structure is simple, warped in a single layer, and usually less than 3 colours and 8 or less warp threads are used.
In the simple examples of crossed warp with 1 weft, the structure is simple, warped in a single layer, and in this case only 2 colours and 4 warp threads are used.
In the simple examples of crossed warp with 1 weft, the structure is simple, warped in a single layer, and usually less than 3 colours and 8 or less warp threads are used.
Refers to the three stages of apprenticeship or training in textiles, according to the degree of complexity of the task or operation, and the size and complexity of the item to be made. Includes the stage of small laces, sashes and girdles of intermediate size and larger sized shawls or mantles.
The ensemble of events in which a textile product is socialised and made part of society. Includes the familal and communal rites of passage in Andean societies.
Set of forms of artistic expression that a particular weaver (male or female) adds to their textile work, either as part of a repertoire of conventions used in the textile practices generally avaliable in their surroundings, or as a personal artistic effect beyond those conventions that they put into in their work.
The array of unique artistic expressions that a (male or female) weaver adds to their textile work, beyond the repertoire of conventions used in textiles practices generalised in their milieu.
Process by which access to a natural resource for textile production is guaranteed, developing practices in the extraction of minerals used in dyeing or fixing colour on to fibres.
Element that has the potential to be converted into a source of pressure or stress under future or possible conditions in the physical, environmental, territorial or sociocultural context. For example, environmental processes of a geomorphological or climatic order that, not being active, are latent, to the extent that cycles of repetition indicated by research are available to long term management. Also, legislation, development policies or specific projects of investment that are incompatible with the preservation of cultural artefacts and their values.
Pre-Colombian item of women's clothing, rectangular in shape and of different sizes: short belts can measure approximately 50 cms, and the longest are funeral belts, up to 10 m in length.
Larger or 'mother' belt with which the waist is wrapped in the first place, since it is considered the principal one; on top of this another, narrower belt might be wrapped; designs are more geometric than figurative.
Narrow cotton belt, white with narrow bands, used to wrap the baby, so that it is held rigid; it is believed that this allows the baby to grow without any abnormal curvature.
