Textile style of the Pacajes societies of the northern altiplano of Bolivia during the Late Intermediate period and the Intermediate Horizon, characterised by warp face fabrics with a lavish use of narrow stripes and design bands.
Period connected to the first human presence on the continent and in the Andean region. These are hunter gatherer societies with mixed economies which possess technological knowledge for working stone, bone, leather as well as techniques of knotting and twining.
Long pieces of hard, fine wood (often guasicucho or quina quina) used to make the two poles of the middle of the loom frame, and allow the heddles to be raised to form the open structure through which the weft shuttle can pass.
Long piece of hard, fine wood (often guasicucho or quina quina) used to make the subsidiary crosspole, replaced when the horizontally fixed loom is converted into a waist loom.
Long piece of hard, fine wood (often guasicucho or quina quina) used to make the pole for doubling the weave (called 'enfullo' on a pedal loom) and which helps or replaces the lower pole at specific times.
Long piece of hard, fine wood (often guasicucho or quina quina) that forms the main frame of the loom, which allows the tension of the warp threads to be maintained.
Plain motif characterised by its width and tendency to be of a single colour, although at times it is elaborated with a speckled or mottled effect (ch'imi). Often it is combined in predetermined sequences of colour. Pampas are very wide stripes structured in the central or lateral part of the textile composition. A pampa is properly an extended area of a single colour, but one also sees pampas divided into wide or medium sized stripes of a single colour through the cloth. They usually alternate with design bands, medium and wide stripes. They are found in archaeological and ethnographic warp face textiles, in raw natural colours and/or coloured by natural and artificial dyes, made in a structure of simple warp through plain technique (ina sawu). One can also identify areas similar to pampas in weft faced tapestry cloths, although we prefer to talk about 'squares' or 'rectangles' in these cases.
Item of men's clothing fastened at the waist and covering each of the two legs separately down to the ankle, first made from baize by hand and by men; generally black or white in colour. Nowadays made industrially in acrylic cloth.
Textile style of the Paracas culture in the Early Horizon on the southern coast of Peru, characterised by fine cloth in tapestry and warp face and using borders.
Textile style of the Paracas culture in the Early Horizon on the southern coast of Peru, characterised by fine cloth in tapestry and warp face and using borders.
Head gear that covers the head down to the neck, leaving an opening for the eyes and nose, and is a variant of the pointed cap or men's 'chulo', worn mainly as protection from the cold, or in periods of social conflict, to avoid being identified.
The range of situations and actions through which groupings of social actors achieve sufficient institutional consensus for a textile object or objects to be recognised as part of 'textile heritage'. These processes are incipient and emergent and they could be referred to as 'processes of patrimonialisation' of 'mechanisms of heritage production' that are being undertaken. These should be differentiated from 'heritage' as a thing that has already been defined and agreed on.
According to UNESCO (1992) the 'Cultural Heritage of a people comprises the works of their artists, architects, musicians, writers and sages, as well as the anonymous creations that emerge from the popular soul, and the set of values that give meaning to life, that is the material and intangible works that express the creativity of that people; language, rituals, beliefs, historical places and monuments, literature, works of art, archives and libraries'.
According to UNESCO (2003) ''intangible cultural heritage or patrimony' is understood as the uses, representations, expressions, knowledge and skills - together with the instruments, objects , artifacts and cultural spaces inherent in them - that communities, groups and in some cases individuals recognise as an integral part of their cultural heritage. This intangible cultural heritage, transmitted from generation to generation, is constantly recreated by communities and groups in response to their surroundings, their interaction with nature and their history, instilling a sense and feeling of identity and continuity and so contributing to the promotion of respect for cultural diversity and human creativity.'
Abstract geometric motif formed by a range of geometric motifs such as jagged rhomboids, 'S' motif, 'Z' motif, wavy lines and schematic zoomoprhs of two headed serpents, and a variant of these with llamas instead of snakes. This motif is found principally in warp face cloth in styles from the north of Chile, for example from the tradition of the highlands-western valleys of Cabuza-Maytas-Tiwanaku and Late San Miguel. It is also found in the Mojocoya and Aguada styles, of the central Interandean Valleys and the Intermontane Mesothermal Valleys respectively. The most recurrent techniques in the elaboration of this motif are selected with counting by basic odd 1/1, and ladder technique with intercalated colour and figure with even count even 2/2 and 4/4.
