Range of bags for ceremonial use distinguished by technique, form and colour: comprising bags for general use, bags connected to llamas and those connected to maize production.
Range of ritual bags used to keep instruments and substances connected to the snuff/coca complex, comprising different bags or containers that vary in size, form, and function like the chuspa (pouch), coca bag etc.
Ritual bag in the form of a hood palced over the head of the dead, in some cases ordinary bags are used but in others bags are used that have special characteristics for the purpose.
Bag that is woven or nowadays made out of industrial fibre (sacana) used in collecting and depositing primary materials, in this case wool that has been sheared before it undergoes a selection process.
Range of ritual bags connected with the dead, and comprising the bag that covers the head of the dead person, the envelope like bag, the rectangular bag for the bone game and the tubular bag.
Woven bag in which smaller weaving instruments are placed and kept: instruments for spinning, plaiting, dying, sewing, finishing, especially spindles, needles, samples, threads and pigments amongst others.
Ritual bag made in warp face generally black but with a strip of red in the middle: it was used to keep llama bones that were part of the game played between relatives of a dead person while the travels of the dead person or other dead member of the family were remembered.
Ritual bag made out of animal or vegetable fibre, stetched out or rectangular in form with a pull cord round the opening: made using the techniques of simple twining, mesh or looping: it was used to to contain tropy or ritual heads.
Piece of male attire from the pre-colonial period, with designs of strips and figures of rectangular form, folded on itself and joined at the sides to form a bag, having a cord fastened to teh seams that allowed it to hang. It can be of everyday use, to carry personal objects or used ritually to carry coca leaves.
Small bag, of everyday use, made out of camelid wool with flat or combing techniques and generally used to hold different items or to keep food, like toasted grains.
Abstract geometrical motif organised in a repetitive manner, in the form of a strip that flanks a band with motifs or the edge of the piece of cloth. It can be found in warp faced archaeological and ethnographic textiles elaborated with the double cloth technique. This is the most appropriate term for the double cloth border instead of 'stripe' that implies the use of a plain technique.
Abstract geometrical motif organised in a repetitive manner, in the form of a band that flanks a band with motifs or the edge of the piece of tapestry cloth. It is found principally in archaeological warp faced textiles. This term is more appropriate for the border of a cloth than 'stripe' which is generally applied to warp face.
In the region comprising the ayllus of the south of Oruro and north of Potosi in Bolivia, item of men's clothing made by men out of fine wool on a foot-loom, measuring approximately 2 metres in length and 20 cm wide; used more as a sash, or stomach band than as a scarf in itself. There are two types of scarf: the festive one tends to have multi-coloured bands and squares, has various extended elements, such as fringes, tassels, tongues and other ornaments; the war scarf has a design in the form of a chessboard, is black and white and is used in 'tinkus' or ritual battles, and in this context it is said that its fringe extensions finished in tassels express the appetite for the blood of the enemy.
Geometrical-figurative motif of a linear figure that is composed of a band of design with seed-like motifs, of smaller size. It is found in archaeological warp faced textiles from the Middle Period in the interior of Arica and the Atacama basin, and in ethnographic textiles from the lake region of Peru and Bolivia, from Sacaca etc. The chains are usually elaborated through fine ladder technique with intercalated colour, counting with an even count , 2/2 and 4/4, and the selected technique with an even count 2/2. In ethnographic textiles it is found elaborated with ladder technique with intercalated colour and even count 2/2 and 4/4, in north Charkas, Carangas, Puno and Lupaqa style.
Square item of clothing as a variant of the old women's acso and the female equivalent of the open poncho or cahua (qhawa) that men wear, used in the Asanaque region a generation ago. It is attached at the right shoulder with a tupo (tupu) or metal pin, and crosses the body forming a carrying space under the armpit. It is kept in place at the waist with a sash or belt and hangs down from there.
Part of the tackle of the loom, calibrators are instruments for planning the cloth that is being made, counting with a system of measures that allows the density of threads that make up the weft and warp to be measured by cm.
Item of winter clothing in the form of false sleeves that became fashionable in the 17th and 18th centuries as male clothing, its use extending across the central Andes and now widespread in central Peru as knitted clothing.
Dynamic of the changes in style and composition of textiles, which express intergenerational differences or the arrival of new influences from the outside.
The set of changes in textiles within a region that occur after an episode of warfare, when new elements from allied or defeated neighbours are integrated. These changes can be seen in their structures and techniques, composition, designs and use of colour.
Dynamic of changes in textile styles, above all to incorporate peripheries into the dominant styles of the centres of power, although this incorporation is done with a certain identitarian touch.
Geometrical figurative motif made of a diagonal line with curls, known as aywara. It is similar to curls of the wavy type. Through its diagonal tendency and curling form, this type of image is elaborated in warp faced textiles through the selected technique counting by derived odd 2|1.
Peculiarly Andean institutionalised sequence of stages of learning/apprenticeship of the tasks involved in textile production organised by gender and age groups, in which there is movement from the simplest practices to the most complex ones, according to age and sex of the person involved.
