63490 Federal Register / Vol. 66, No. 236 / Friday, December 7, 2001 / Rules and Regulations
in this document will be published J–116 [Revised] DEPARTMENT OF THE TREASURY subsequently in the order. From Wasatch, UT via Fairfield, UT; Customs Service List of Subjects in 14 CFR Part 71 Meeker, CO; to Falcon, CO. * * * * * Airspace, Incorporation by reference, 19 CFR PART 12 Navigation (air). J–154 [Revised] [T.D. 01–86] Adoption of the Amendment From Battle Mountain, NV; Bonneville, UT; Wasatch, UT; Rock Springs, WY; INT RIN 1515–AC95 In consideration of the foregoing, the Rock Springs 106° and Mile High, CO, 322° Federal Aviation Administration radials; Mile High; INT Mile High 133° and Import Restrictions Imposed on amends 14 CFR part 71 as follows: Garden City, KS, 296° radials; to Garden City. Archaeological and Ethnological * * * * * Materials From Bolivia PART 71—DESIGNATION OF CLASS A, AGENCY: CLASS B, CLASS C, CLASS D, AND J–173 [Revised] Customs Service, Treasury. CLASS E AIRSPACE AREAS; From Wasatch, UT, to Meeker, CO. ACTION: Final rule. AIRWAYS; ROUTES; AND REPORTING * * * * * SUMMARY: This document amends the POINTS Paragraph 6010(a) Domestic VOR Federal Customs Regulations to reflect the 1. The authority citation for 14 CFR Airways imposition of import restrictions on part 71 continues to read as follows: * * * * * certain archaeological and ethnological materials originating in Bolivia. These Authority: 49 U.S.C. 106(g), 40103, 40113, V–21 [Revised] 40120; E.O. 10854,24 FR 9565, 3 CFR, 1959– restrictions are being imposed pursuant 1963 Comp., p. 389. From Santa Catalina, CA, via Seal Beach, to an agreement between the United CA; Paradise, CA; 35 miles, 7 miles wide (3 States and Bolivia that has been entered § 71.1 [Amended] miles SE and 4 miles NW of centerline), into under the authority of the 2. The incorporation by reference in Hector, CA; Boulder City, NV; Morman Mesa, Convention on Cultural Property 14 CFR 71.1 of the Federal Aviation NV; Milford, UT; Delta, UT; Fairfield, UT; Implementation Act in accordance with Administration Order 7400.9J, Airspace Wasatch, UT; Ogden, UT; Malad City, ID; the 1970 United Nations Educational, Designations and Reporting Points, Pocatello, ID; Idaho Falls, ID; INT of Idaho ° ° Scientific and Cultural Organization dated August 31, 2001, and effective Falls, 030 and DuBois, ID, 157 radials; (UNESCO) Convention on the Means of DuBois; Dillon, MT; Whitehall, MT; Helena, September 16, 2001, is amended as Prohibiting and Preventing the Illicit follows: MT; Great Falls, MT; Cut Bank, MT; INT Cut Bank 348° radial and the United States/ Import, Export and Transfer of Paragraph 2004 Jet Routes Canadian border. Ownership of Cultural Property. The document amends the Customs * * * * * * * * * * Regulations by adding Bolivia to the list J–9 [Revised] V–32 [Revised] of countries for which an agreement has From Los Angeles, CA, via Daggett, CA; Las From Mustang, NV; via Hazen, NV; been entered into for imposing import ° Vegas, NV; INT Las Vegas 046 and Milford, Lovelock, NV; INT Lovelock 057° and Battle restrictions. The document also contains ° UT, 213 radials; Milford; Fairfield, UT; Mountain, NV, 264° radials; Battle Mountain; the ‘‘Designated List of Archaeological Wasatch, UT; Dubois, ID; Dillon, MT, to Bullion, NV; Bonneville, UT; Wasatch, UT; and Ethnological Material From Great Falls, MT. 17 miles, 45 miles, 105 MSL, Fort Bridger, Bolivia’’ that describes the types of * * * * * WY. articles to which the restrictions apply. J–11 [Revised] * * * * * EFFECTIVE DATE: December 7, 2001. ° From Tucson, AZ, via INT Tucson 320 V–101 [Revised] FOR FURTHER INFORMATION CONTACT: and Phoenix, AZ, 155° radials; Phoenix; From Gill, CO, via Hayden, CO; Vernal, (Legal Aspects) Joseph Howard, Drake, AZ; Bryce Canyon, UT; Fairfield, UT; Intellectual Property Rights Branch to Wasatch, UT. UT; 25 miles, 25 miles 120 MSL, 22 miles 145 MSL, 20 miles 125 MSL, Wasatch, UT; (202) 927–2336; (Operational Aspects) * * * * * Ogden, UT; 61 miles, 26 miles, 109 MSL, Al Morawski, Trade Operations (202) J–12 [Revised] Burley, ID; INT Burley 344° and Pocatello, 927–0402. ° From Seattle, WA, via Ephrata, WA; ID, 286 radials; Hailey, ID, NDB; to the INT SUPPLEMENTARY INFORMATION: Pocatello 286° and Twin Falls, ID, 355° Donnelly, ID; Twin Falls, ID; Wasatch, UT; Background Fairfield, UT; to Grand Junction, CO. radials. * * * * * * * * * * The value of cultural property, whether archaeological or ethnological J–15 [Revised] V–484 [Revised] in nature, is immeasurable. Such items From Humble, TX, via INT Humble 269° From Hailey, ID, NDB; INT Twin Falls, ID, often constitute the very essence of a and Junction, TX, 112° radials; Junction; 007° and Burley, ID, 323° radials; Twin Falls, society and convey important Wink, TX; Chisum, NM; Corona, NM; 49 miles, 34 miles 114 MSL, Wasatch, UT; 25 information concerning a people’s Albuquerque, NM; Farmington, NM; Grand miles, 31 miles, 125 MSL, Myton, UT; 14 origin, history, and traditional setting. miles, 79 MSL, 33 miles, 100 MSL, Grand Junction, CO; Wasatch, UT; Twin Falls, ID; The importance and popularity of such Boise, ID; Kimberly, OR; INT Kimberly 288° Junction, CO; Blue Mesa, CO; INT Blue Mesa and Battle Ground, WA, 136° radials; to 110° and Alamosa, CO, 339° radials; items regrettably makes them targets of Battle Ground. Alamosa. theft, encourages clandestine looting of * * * * * archaeological sites, and results in their Issued in Washington, DC, November 29, illegal export and import. J–56 [Revised] 2001. The U.S. shares in the international From Mina, NV; Wasatch, UT; Hayden, CO; Reginald C. Matthews, concern for the need to protect INT Hayden 090° and Falcon, CO, 317° Manager, Airspace and Rules Division. endangered cultural property. The radials; to Falcon. [FR Doc. 01–30359 Filed 12–6–01; 8:45 am] appearance in the U.S. of stolen or * * * * * BILLING CODE 4910–13–P illegally exported artifacts from other
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countries where there has been pillage certain archaeological and ethnological requirements of the Act, that the has, on occasion, strained our foreign materials from Bolivia as described archaeological materials covered by the and cultural relations. This situation, below. Agreement are of cultural significance combined with the concerns of It is noted that emergency import because they derive from numerous museum, archaeological, and scholarly restrictions on antique ceremonial cultures that developed autonomously communities, was recognized by the textiles from Coroma, Bolivia were in the Andean region and attained a President and Congress. It became previously imposed but are no longer in high degree of technological, apparent that it was in the national effect.(See T.D. 89–37, published in the agricultural, and artistic achievement, interest for the U.S. to join with other Federal Register (54 FR 17529) on but whose underlying political, countries to control illegal trafficking of March 14, 1989, and T.D. 93–34 economic, and religious systems remain such articles in international commerce. published in the Federal Register (58 poorly understood. Also, the The U.S. joined international efforts FR 29348) on May 20, 1993.) The archaeological materials represent a and actively participated in restrictions published in this document legacy that serves as a source of identity deliberations resulting in the 1970 are separate and independent from these and pride for the modern Bolivian UNESCO Convention on the Means of previously imposed emergency import nation. The Acting Assistant Secretary Prohibiting and Preventing the Illicit restrictions. This document removes the determined that the ethnological Import, Export and Transfer of reference in the Customs Regulations in materials play an essential and Ownership of Cultural Property (823 § 12.104g(b) to these expired emergency irreplaceable role in indigenous U.N.T.S. 231 (1972)). U.S. acceptance of import restrictions. Bolivian communities and are vested the 1970 UNESCO Convention was Material Encompassed in Import with symbolic and historic meaning. codified into U.S. law as the Restrictions They are used in ceremonial and ‘‘Convention on Cultural Property ritualistic practices and frequently serve In reaching the decision to Implementation Act’’ (Pub.L. 97–446, 19 as marks of identity within the society. recommend protection for the cultural U.S.C. 2601 et seq.) (‘‘the Act’’). This Serving as testimony to the continuation patrimony of Bolivia, the Acting was done to promote U.S. leadership in of pre-Columbian cultural elements Assistant Secretary for Educational and achieving greater international despite European political domination, Cultural Affairs of the U. S. State cooperation towards preserving cultural they form an emblem of national pride Department determined, pursuant to the treasures that are of importance to the in a society that is largely indigenous. requirements of the Act, that the nations from where they originate and Also, pursuant to the requirements of to achieving greater international cultural patrimony of Bolivia is in the Act, the Acting Assistant Secretary understanding of mankind’s common jeopardy from the pillage of determined that Bolivia has taken heritage. archaeological and ethnological During the past several years, import materials and this pillage is widespread, measures consistent with the restrictions have been imposed on on-going, and systematically destroying Convention to protect its cultural archaeological and ethnological artifacts the non-renewable archaeological and patrimony, and that the application of of a number of signatory nations. These ethnological record of Bolivia. import restrictions set forth in Section restrictions have been imposed as a The archaeological materials which 307 of the Act is consistent with the result of requests for protection received are the subject of the Acting Assistant general interest of the international from those nations as well as pursuant Secretary’s determination represent pre- community in the interchange of to bilateral agreements between the Columbian cultures of Bolivia, range in cultural property among nations for United States and other countries. More date from approximately 10,000 B.C. to scientific, cultural, and educational information on import restrictions can A.D. 1532, and include: (1) Objects purposes. be found on the International Cultural comprised of textiles, featherwork, Designated List Property Protection Web site (http:// ceramics, metals, and lithics (stone); exchanges.state.gov/education/culprop). and (2) perishable remains, such as The bilateral agreement between Import restrictions are now being bone, human remains, wood, and Bolivia and the United States covers the imposed on certain archaeological and basketry that represent cultures categories of artifacts described in a ethnological materials originating in including but not limited to the ‘‘Designated List of Archaeological and Bolivia as the result of a bilateral Formative Cultures (such as Wankarani Ethnological Material from Bolivia,’’ agreement entered into between the and Chiripa, Tiwanaku, and Inca), which is set forth below. Importation of United States and Bolivia (the Tropical Lowland Cultures, and Aymara articles on this list is restricted unless Agreement). The Agreement was Kingdom. The ethnological materials the articles are accompanied by an entered into on December 4, 2001, which are the subject of the Acting appropriate export certificate issued by pursuant to the provisions of 19 U.S.C. Assistant Secretary’s determination the Government of Bolivia or 2602. The archaeological materials represent the Colonial and Republican documentation demonstrating that the subject to the Agreement represent pre- periods, range in date from A.D. 1533 to articles left the country of origin prior Columbian cultures of Bolivia and range 1900, and include: (1) Objects of to the effective date of the import in date from approximately 10,000 B.C. indigenous manufacture and ritual, restriction. to A.D. 1532. The ethnological materials sumptuary, or funeral use related to the List of Archaeological and Ethnological subject to the Agreement are from the pre-Columbian past, which may include Materials From Bolivia Colonial and Republican periods and masks, wood, musical instruments, range in date from A.D. 1533 to 1900. textiles, featherwork, and ceramics; and Archaeological Materials Accordingly, § 12.104g(a) of the (2) objects used for rituals and religious I. Pre-Columbian Ceramics Customs Regulations is being amended ceremonies, including Colonial religious to indicate that restrictions have been art, such as paintings and sculpture, Ceremonial, sumptuary, and funerary imposed pursuant to the Agreement reliquaries, altars, altar objects, and ceramics representing the following between the United States and Bolivia. liturgical vestments. principal cultures: This document amends the regulations The Acting Assistant Secretary also A. Formative Cultures (2000 B.C.– by imposing import restrictions on determined, pursuant to the A.D. 400)
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Decoration: Ceramics are broadly to refer to all Formative Period red, grey, orange, white, black, and monochrome in appearance from the ceramics. reddish-brown for intricate geometric use of red, tan, or pale orange slip designs. C. Chiripa (1500 B.C.–A.D. 200) against a fire-clouded surface; some Forms: Bowl, vase (lebrillo), pitcher, forms are black and finely polished. Decoration: Generally red or black jar, figurine, cup, beaker (kero), portrait Some show use of polychrome slip slipped surfaces, with cream, yellow, or vessel, plate, oil lamp (mechero), paints in red, orange, black, and yellow. black painted geometric designs. Effigy incense burner (sahumerio), and The surface exterior is polished or vessels and fineware jars are often challador. burnished. There is some use of painted and incised. Yellow-painted, Size: Varies according to form. applique and incision. incised, and modeled flat-based jars are Identifying features: After the demise Forms: Plates (ch’illami), open bowls, distinct. of the Tiwanaku empire, local ceramic vases, double-cylinder vases with bridge Forms: Bowls, vases, pitchers, jars, traditions re-emerged. Design elements handles, beakers with vertical handles, effigy jars, and figurines. Flat-based such as color and placement on the pitchers, incense burners, portrait jars, restricted bowls with small, animal- vessel are retained from Tiwanaku handled funerary jars, boot-shaped jars, shaped lug handles are common. styles, but religious personages and tripod-base jars, canoe-shaped bowls, Size: Varies according to form. deities are replaced by abstract, double-spout bottles, effigy jars in the Identifying features: Yellow-or cream- geometric designs. shape of humans, animals and birds, painted on red, incised, and modeled Styles: Mollo, Pacajes, Uruquilla, and figurines. flat-based jars and bowls are distinct. Yuna, Chaqui, Lupaqa, Karanga, Size: Varies according to form; The walls of the vessels are thick (5 cm. Charcas, Killaqa, Karanka, Kara Kara, miniatures average 2 cm. in height to 8 cm.) and the rims are thickened. Ciaco, Chuyes, Tomatas, Yampara´, and while over-sized ch’illamis can average The painted decoration is geometric, Mizque Regional. Also referred to as 70 cm. in width/rim diameter. rendered in wide strokes. ‘‘Decadent Tiwanaku.’’ Identifying features: Formative Period Style: Linked to the Wankarani and F. Inca (A.D. 1450–1533) ceramics are plain in appearance but Tiwanaku I styles of the Bolivian their shapes are distinct. Some are highlands. Decoration: Monochrome and polychrome painted vessels utilizing miniature or over-sized (bowls, or D. Tiwanaku (A.D. 600–1200) ch’illami); asymmetrical or lop-sided red, grey, orange, white, black, and (boot-shaped jars); and unconventional Decoration: Well-fired (hard), reddish-brown for intricate geometric (beakers with vertical handles, canoe- polychrome pottery in black on red or designs arranged in bands. shaped vessels, ‘‘genie lamp’’ shape). combined black, red, yellow, orange, Forms: Cook pot, bowl, vase (lebrillo), Styles: Formative Period style gray, brown, and white. Design motifs pitcher, jar (arı´balo), figurine, cup, kero ceramics are distributed throughout include human and divine (beaker), portrait vessel, plate, oil lamp Bolivia. These include: Chiripa, Fluke, representations, pumas, jaguars, birds, (mechero), incense burner (sahumerio), Kaluyo/Qaluyu, Wankarani, Salar de and geometric elements. On many funerary urn, bottle (angara), challador, Uyuni, Urus, Chipayas, Tupuraya, beakers, the design is complex. Plastic storage vessel. Mojocoya, Pocona, Mizque, Aiquile, decoration includes modeling, incision, Size: Varies according to form; Beni, Pando, Santa Cruz regions, and and applique. funerary urns and storage vessels can Mojen˜ as styles. Other terms used Forms: Bowls, plates, urns, vases, average one meter in height. include: Quillacollo, Cliza, Llampara, lebrillos, flat-bottomed beakers, incense Identifying features: The most Inquisivi, Navillera, Tapacarı´, Capinota, burners (sahumerios), lamps (mechero), recognizable form of these ceramics is Parotani, Chullpa Pampa, Sacaba, effigy jars, portrait vessels, bottles, flat- the flat-based beaker or kero. These Tiraque, Chullpa Pata, Santa Lucia, bottomed bottles, challadores, and some average about 10 cm. in height and are Arani, Sierra Mokho, and Sauces. tripod forms. The rim edges of some painted with complex geometric and beakers are scalloped. naturalistic designs in polychrome B. Wankarani (1600 B.C.–A.D. 100) Size: Varies according to form; storage colors, often adorned at or near the rim Decoration: Typically monochrome, jars are known to be up to one meter in by a modeled puma, llama, or jaguar slipped vessels in red or black and well- height. head. Keros are often decorated in the polished. Black stripes against a red Identifying features: Tiwanaku style called Tocapu, an Inca design surface are also common. Incision, finewares are typically polychrome and consisting of horizontally and vertically punctate, and applique are used for often exhibit complex images of cats, arranged squares with abstract and surface decoration on effigy vessels. llamas, or personages bearing a staff in geometric motifs in each square. Forms: Plates (ch’illami), open bowls, each outstretched arm. Beakers and Styles: Inca, Yampara´, Lakatambo, vases, beakers with vertical handles, plates often bear an open-mouthed Colla, Yura, and Pacajes. pitchers, incense burners, portrait jars, feline or llama adornment along the rim G. Tropical Lowland Cultures (1400 double-spout bottles, funerary urns, edge. Some decorated jars (lebrillos) are B.C.–A.D. 1533): ladles, conical vases with circular bases, short-bodied with disproportionately effigy jars in the shape of humans, large, outflaring rims. Decoration: Often plain slipped in animals and birds, and figurines. Styles: Tiwanaku I-V, Qalasasaya, colors of red, tan, cream, orange, black, Size: Varies according to form. Qeya, Yampara, Mollo, Omereque, and yellow with bands of geometric Identifying features: Plain forms and Uruquilla, Quillacasa, Yura, Tupuraya, designs. monochrome surface decoration that is Ciaco, Mojocoya, Lakatambo, Colla, and Forms: Bowls, vases, pitchers, jars, well-polished. Most rim edges show a Presto-Puno. Linked to the Wari style of funerary urn, plate, oil lamp, and slight, rounded scallop that often gives Ayacucho, Peru, and the earlier Chiripa challador. the appearance of a misshapen vessel. style of Bolivia. Size: Varies according to form; some Styles: Wankarani ceramics are funerary urns are over one meter in limited in distribution to northeast of E. Aymara Kingdoms (A.D. 1200–1450) height. Lake Titicaca and north of Lake Poopo. Decoration: Monochrome and Identifying features: Soft pastes The term Wankarani is sometimes used polychrome painted vessels utilizing containing organic inclusions.
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Styles: Casarabe, Mamore´, San Jua´n, Found in either a solid color or simple from cotton or camelid fibers and dyed Palmar, Vanegas, and Chane´. polychrome geometricized design. Bag with natural pigments in red, blue, belts are long rectangular sashes green, orange, yellow, tan, brown, black, H. Ceramic Musical Instruments comprised of one piece of cloth folded purple, or a combination of colors. (Formative Cultures—Inca, including length-wise that contain an opening in Designs are typically stripes arranged Tropical Lowland Cultures) the top and are secured to the waist by across the cloth in a vertical or Decoration/Form: Ceramic musical braided straps. horizontal pattern or along the margins instruments include whistles, flutes, 4. Hat, headband: Includes of the garment. Average size is one rattles, and panpipes. Often plain polychrome caps, four-cornered hats square meter. slipped in colors of red, tan, cream, with tassels (gorro), headbands, and 2. Tunic (unku, ccahua): Man’s orange, black, and yellow or painted small cloths sometimes used as head- ceremonial vestment constructed from with intricate polychrome designs. coverings by women (icun˜ a) which were one piece of cloth which is folded in Size: Panpipes range between 20 cm. either woven or knotted and dyed with half and sewn up the sides, leaving and 120 cm.; whistles and rattles are natural pigments in red, blue, green, openings for the arms at the top and an typically hand size; flutes range from 20 orange, yellow, tan, brown, black, opening in the middle for the head. cm. to 120 cm. purple, or a combination of colors. Woven from cotton or camelid fibers Styles and distribution: Whistle/flute When present, designs are geometric or and dyed with natural pigments in red, (ocarina or silbato); Rattle (sonajera); depict highly stylized animals, such as blue, green, orange, yellow, tan, brown, Flute/panpipe (zampon˜ a). Distributed llamas and other camelids. black, purple, or a combination of throughout all parts of Bolivia. 5. Bag/pouch (ch’uspa, huallquepo): colors. Designs are typically found in Carried by both men and women; woven II. Pre-Columbian Textiles the hip, sleeve, and neck areas, but there from cotton or camelid fibers in a are examples of more elaborate designs Ceremonial, sumptuary, and funerary variety of widths, lengths and colors. which cover the entire garment; plain textiles representing the following Found in either a solid color or simple vertical stripe designs across the principal cultures: polychrome stripe pattern arrangement garment are also known. Average size is A. Tiwanaku with geometric motifs. These bags are 135 cm. x 92 cm. usually square (20 cm.) or rectangular 3. Dress (aksu/urku): Woman’s 1. Shawl/mantle (awayo, ahuayo, with a woven carrying strap. They often ceremonial vestment woven from lliclla, llacota): Square or rectangular contain small pockets on the pouch camelid fiber constructed from one garment composed of two pieces of exterior and are decorated with tassels. cloth sewn together. Woven from cotton 6. Cloth: Square, rectangular, or piece of cloth that is wrapped around and/or camelid fibers and dyed with fragmentary cloth woven from cotton or the body. These are dyed with natural natural pigments in red, blue, green, camelid fibers, or constructed from soft pigments in red, blue, green, orange, orange, yellow, tan, brown, black, tree bark or other natural fiber, and dyed yellow, tan, brown, black, purple, or a purple, or a combination of colors. with natural pigments in red, blue, combination of colors. The vestments Fabric designs include: (1) Stripes green, orange, yellow, tan, brown, black, are plain or striped. Average length is arranged across the cloth in a vertical or purple, or a combination of colors. 1.5 meters. horizontal pattern; (2) repetitive Some examples are striped in a vertical 4. Belts and bag belts (chumpi, wak’a): arrangements of llamas or other animal or horizontal pattern. Tapestry wall- Worn by both men and women; woven motifs; (3) patterns created from tie-dye, hangings often exhibit complex from cotton or camelid fibers in a checkerboards, and repetitive squares or geometric or animal designs arranged in variety of widths, lengths, and colors. cloth patchwork. Average size is one repetitive patterns. Average size ranges Found in either a solid color or simple square meter. between six square centimeters and six polychrome geometricized design. Bag 2. Tunic (unku, ccahua): Man’s square meters. Cloth may be belts are long rectangular sashes ceremonial vestment constructed from fragmentary, folded flat, or bundled comprised of one piece of cloth folded one piece of cloth which is folded in (q’epi) for use in ritual ceremonies. length-wise that contain an opening in half and sewn up the sides, leaving Women’s ritual cloth, called icun˜ a or the top and are secured to the waist by openings for the arms at the top and an tari, is also included in this category. braided straps. opening in the middle for the head. 7. Featherwork: Colorful, tropical 5. Hat (chucu) or headband: The Woven from cotton and/or camelid feathers attached to leather, cloth, wood, Aymara chucu is a conical shaped cap fibers, often in tapestry weave, and dyed or other material, such as basketry, to that is attached to the head with a with natural pigments in red, blue, create adornments worn on the wrists, headband. These were woven from green, orange, yellow, tan, brown, black, ankles, neck, waist, back, and head, camelid fibers and dyed with natural purple, or a combination of colors. including the lips and ears. Most pigments in red, blue, green, orange, Designs are typically found in the hip, typically found are headdresses, which yellow, tan, brown, black, purple, or a sleeve, and neck areas but there are may consist of small crowns (30 cm. combination of colors. When present, more elaborate examples where designs average) or large, towering bonnets of designs are geometric or depict highly cover the entire garment: (1) Stripes feathers (80 cm.). This category also stylized animals, such as llamas and arranged across the cloth in a vertical or includes feather-covered ritual belts and other camelids. horizontal pattern; (2) repetitive textiles (35–70 cm.), fans (250 cm. long), 6. Bag/pouch (ch’uspa, huallquepo, arrangements of llamas or other animal staves or batons (145–250 cm.), basketry istalla): Carried by both men and motifs; (3) patterns created from tie-dye, supports, and healer’s amulets or women, woven from cotton or camelid checkerboards, repetitive squares or photadi (80–250 cm.). fibers in a variety of widths, lengths, cloth patchwork. Average size is 135 and colors. Found in either a solid color cm. x 92 cm. B. Aymara Kingdom or simple polychrome stripe pattern 3. Belts and bag belts (chumpi, wak’a): 1. Shawl/mantle (awayo, ahuayo, arrangement with geometric motifs. Worn by both men and women, woven lliclla, llacota, iscayo): Square or These bags are usually square (20 cm.) from cotton or camelid fibers in a rectangular garment composed of two or rectangular with a woven carrying variety of widths, lengths, and colors. pieces of cloth sewn together. Woven strap. They often contain small pockets
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on the pouch exterior and are decorated Inca design consisting of horizontally (q’epi) for use in ritual ceremonies. with tassels. and vertically arranged squares with Woman’s ritual cloth, called icun˜ a, tari, 7. Cloth: Square, rectangular, or abstract and geometric motifs in each or n˜ an˜ aca, is also included in this fragmentary cloth woven from cotton or square. Average size is 135 cm. x 92 cm. category. Cumbi, or ‘‘royal Inca cloth,’’ camelid fibers, or constructed from soft 3. Dress (aksu/urku): Woman’s refers to a finely woven, soft cloth tree bark or other natural fiber, and dyed ceremonial dress woven from camelid produced for Inca dignitaries and is with natural pigments in red, blue, fiber and constructed from a analogous to gold in value. Often baby green, orange, yellow, tan, brown, black, rectangular, two-piece cloth that is alpaca wool was utilized. purple, or a combination of colors. wrapped around the body and tied at 8. Knotted Strings or quipu (k’ipu, Some examples are striped in a vertical the waist. These are dyed with natural khipu): Quipus are knotted string or horizontal pattern. Average size pigments in red, blue, green, orange, devices used to count and record. They ranges between six square centimeters yellow, tan, brown, black, purple, or a were created from woven cotton and/or and six square meters. Cloth may be combination of colors. The vestments camelid fiber twine. They appear as sets fragmentary, folded flat, or bundled are normally plain or striped, but during of knotted strings in colors, such as tan, (q’epi) for use in ritual ceremonies. the Inca Period, many were made from cream, brown, or coffee. Quipus range Woman’s ritual cloth, called icun˜ a or cumbi (see Inca cloth) and decorated in in size from hand-size to 2.5 meters in tari, is also included in this category. striped patterns (usually horizontal) of length. 8. Featherwork: Consists of colorful, geometric motifs. Average length is 1.5 9. Featherwork: Colorful, tropical tropical feathers attached to leather, meters. feathers attached to leather, cloth, wood, cloth, wood, or other material, such as 4. Belts and bag belts (chumpi, wak’a): or other material to create adornments basketry, to create adornments worn on Worn by both men and women, woven worn on the wrists, ankles, neck, waist, the wrists, ankles, neck, waist, back, and from cotton or camelid fibers in a back, and head, including the lips and head, including the lips and ears. Most variety of widths, lengths, and colors. ears. Most typically found are typically found are head dresses, which Found in either a solid color or simple headdresses, which may consist of small may consist of small crowns (30 cm. polychrome geometricized design. Bag crowns (30 cm. average) or large, average) or large, towering bonnets of belts are long rectangular sashes towering bonnets of feathers (80 cm.). feathers (80 cm.). This category also comprised of one piece of cloth folded This category also includes feather- includes feather-covered ritual belts and length-wise that contain an opening in covered ritual belts and textiles (35–70 textiles (35–70 cm.), fans (250 cm. long), the top and are secured to the waist by cm.), fans (250 cm. long), staves or staves or batons (145–250 cm.), basketry braided straps. batons (145–250 cm.), basketry supports, and healer’s amulets or 5. Hat (chuc, n˜ an˜ aca) or headband: supports, and healer’s amulets or photadi (80–250 cm.). The chucu is a conical shaped cap that photadi (80–250 cm.). is attached to the head with a headband. C. Inca These were woven from camelid fibers D. Tropical Lowland Cultures 1. Shawl/mantle (awayo, ahuayo, and dyed with natural pigments in red, 1. Cloth: Square, rectangular, or lliclla, llacota, iscayo): Square or blue, green, orange, yellow, tan, brown, fragmentary cloth woven from cotton, or rectangular garment composed of two black, purple, or a combination of constructed from soft tree bark or other pieces of cloth sewn together. Woven colors. When present, designs are natural fiber, and dyed with natural from cotton or camelid fibers and dyed geometric or depict highly stylized pigments in red, blue, green, orange, with natural pigments in red, blue, animals, such as llamas and other yellow, tan, brown, black, purple, or a green, orange, yellow, tan, brown, black, camelids. N˜ an˜ acas are head coverings combination of colors. Some examples purple, or a combination of colors. worn by women that range in size are striped in a vertical or horizontal Designs are typically stripes arranged between 10 square cm. and one square pattern. Average size ranges between six across the cloth in a vertical or meter. square centimeters and six square horizontal pattern or along the margins 6. Bag/pouch (ch’uspa, huallquepo, meters. Cloth may be fragmentary, of the garment. Average size is one istalla): Carried by both men and folded flat, or bundled (q’epi) for use in square meter. women; woven from cotton or camelid ritual ceremonies. 2. Tunic (unku, ccahua): Man’s fibers in a variety of widths, lengths, 2. Featherwork: Colorful, tropical ceremonial vestment constructed from and colors. Found in either a solid color feathers attached to leather, cloth, wood, one piece of cloth which is folded in or simple polychrome stripe pattern or other material to create adornments half and sewn up the sides, leaving arrangement with geometric motifs. worn on the wrists, ankles, neck, waist, openings for the arms at the top and an These bags are usually square (20 cm.) back, and head, including the lips and opening in the middle for the head. or rectangular with a woven carrying ears. Most typically found are Woven from cotton and/or camelid strap. They often contain small pockets headdresses, which may consist of fibers, often in tapestry weave, and dyed on the pouch exterior and are decorated small, modest crowns (30 cm. average) with natural pigments in red, blue, with tassels. or large, towering bonnets of feathers green, orange, yellow, tan, brown, black, 7. Cloth and cumbi: Square, (80 cm.). This category also includes purple, or a combination of colors. rectangular, or fragmentary cloth woven feather-covered ritual belts and textiles Designs are typically found in the hip, from fine cotton and/or camelid fibers, (35–70 cm.), fans (250 cm. long), staves sleeve, and neck areas, but there are or constructed from soft tree bark or or batons (145–250 cm.), and healer’s more elaborate examples where designs other natural fiber, and dyed with amulets or photadi (80–250 cm.). cover the entire garment: (1) Stripes natural pigments in red, blue, green, arranged across the cloth in a vertical or orange, yellow, tan, brown, black, III. Pre-Columbian Metals horizontal pattern; (2) repetitive purple, or a combination of colors. Ceremonial, sumptuary, and funerary arrangements of llamas or other animal Some examples are striped in a vertical metal objects produced and used by motifs; (3) patterns created from tie-dye, or horizontal pattern. Average size indigenous cultures from the Formative checkerboards, and repetitive squares or ranges between six square centimeters Period to A.D. 1533: cloth patchwork. Tunics are often and six square meters. Cloth may be A. Axe: Made of copper, bronze, or decorated in the style called Tocapu, an fragmentary, folded flat, or bundled gold. Generally flat with rounded head
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and attached to a handle. Average size N. Mask: Made of copper, bronze, alabaster, lapis lazuli, sodalite, obsidian, is 15 cm. long x 10 cm. wide. Formative silver, gold, or tumbaga. Usually quartz, malachite, green stone, or other Cultures—Inca. hammered, unadorned metal plaque semi-precious stone. Exterior is finely B. Chisel: Made of copper, bronze, that is sometimes inlaid with semi- polished. Often found in matching silver, gold, or tumbaga. Long stem(50 precious stone or shell. Motifs include pairs. Animals are usually camelids. cm.) terminates at short bulbous head felines and humans or combinations of Average size is 5 cm. in height. (10 cm.). Formative Cultures—Inca. the two. Average size is 30 square cm. Formative Cultures—Inca, including C. Clamps/tweezers: Made of copper, O. Pectoral: Made of copper, silver, Tropical Lowland Cultures. bronze, silver, gold, or tumbaga. Short gold, or tumbaga. Flat surface with G. Drinking vessel (kero): These are stem (5 cm.) attaches to thin, flat heads, squared base and curved edge. Often vase-shaped beakers, about 15 cm. in sometimes decorated (10 cm.). decorated with fine incised lines. height, made from grey andesite or Formative Cultures—Inca. Average size is 70 cm. in height. basalt. They often exhibit a puma or D. Knife (tumi): Made of copper, Formative Cultures—Inca. jaguar face on the vessel exterior or bronze, silver, gold, or tumbaga. Flat P. Sheet/plaque: Thin, hammered other stylized geometric design. surface with trapezoidal or squared sheets of copper, silver, gold, or Tiwanaku—Inca. handle and ovaloid or half-moon blade. tumbaga. Often incised or embossed. H. Snuff tablet: These are shallow, Often incised, embossed, or applique Size varies. Formative Cultures—Inca. rectangular trays approximately 20 cm. decoration at base. Average size is 50 Q. Garment pin (tupu): Made of long x 5 cm. wide x 1 cm. in height. cm. in height. Formative Cultures—Inca. copper, bronze, silver, gold, or tumbaga. May be constructed of andesite, basalt, E. Crown: Made of gold or silver. A large pin with a long shaft (15 cm.) alabaster, or other semi-precious stone, Generally flat metal with animal, bird, that usually terminates with flat, discoid or of wood. These small trays are often or geometric designs. Average size is 14 head (4 cm.) often embossed with carved with intricate designs and inlaid cm. in diameter. Formative Cultures— design. Tiwanaku—Inca. with semi-precious stone and/or shell. Inca. IV. Pre-Columbian Stone Formative Cultures—Inca, including F. Diadem: Made of gold or silver. Tropical Lowland Cultures. Generally flat with animal, bird, or Ceremonial, sumptuary, and funerary geometric designs. Average size is 35 stone objects produced and used by I. Sculpture × cm. long 45 cm. wide. Formative indigenous cultures from the Archaic 1. Tenon head: Made of sandstone, Cultures—Inca. period to A.D. 1533: basalt, granite, volcanic tuff, or other G. Bracelet: Made of copper, bronze, A. Projectile point: Made of red, stone. These are carved ashlar stone silver, gold, or tumbaga. Usually tubular black, brown, or transparent obsidian, heads, normally in the shapes of masked form. Average size is 11 cm. in chert, basalt, or other semi-precious humans, jaguars, and pumas that either diameter. Formative Cultures—Inca. stone. Leaf-shape, with or without stem. serve as architectural wall H. Collar: Made of copper, bronze, Average size is 7 cm. long x 3 cm. wide. embellishments at temples and religious silver, gold, or tumbaga. Normally a thin Formative Cultures-Inca, including shrines or are portions of free-standing (4 cm.) band without clasps. Sometimes Tropical Lowland Cultures. Locally monoliths (see also stelae, monolith). contains beads, disks, or pendants. known as Vizcachani style. Small round heads average 50 square Formative Cultures—Inca. B. Axe: Made of red, black, brown or I. Earring or ear plug: Made of copper, transparent obsidian, chert, basalt, or cm., while the heads of columnar stelae bronze, silver, gold, or tumbaga. other semi-precious stone. Leaf-shape, average one square meter. Formative Generally discoid, ring shape, or or rectangular shaped head, with or Cultures—Inca. pendant. Often inlaid with semi- without notches where handle is 2. Animal-shaped: Made of sandstone, precious stones or shell. Average size is attached. Average size is 12 cm. long x basalt, granite, volcanic tuff, or other 4 cm. in diameter. Tiwanaku—Inca. 6 cm. wide. Formative Cultures—Inca, stone. These are carved statues of the J. Necklace: Made of copper, silver, including Tropical Lowland Cultures. head and neck portions of llamas and gold, or tumbaga. Normally a thin(4 cm.) C. Sword: Made of red, black, brown other animals. Because they are not band without clasps. Sometimes or transparent obsidian, chert, basalt, or supported by a base or pedestal, they are contains beads, disks, or pendants. other semi-precious stone. Oblong, leaf- unable to free-stand. Average size is 2 Formative Cultures—Inca. shaped, with or without notches where meters in height. Mostly Formative K. Nose plug (nariguera): Made of handle is attached. Formative Cultures. copper, silver, gold, or tumbaga. Either Cultures—Inca, including Tropical 3. Plaques (lapida): Made of ring shaped (plain, thin band) or a Lowland Cultures. sandstone, basalt, granite, limestone, circular band with applique. Average D. Bead: Made of lapis lazuli, sodalite, volcanic tuff, or other stone. These are size is 3 cm. in diameter. Formative obsidian, quartz, malachite, green stone, rectangular ashlar slabs, 52 cm. long x Cultures—Inca. or other semi-precious stone. Usually 39 cm. wide x 3.5 cm. thick that are L. Belt: Made of copper, bronze, are globular with fine aperture; sculpted on both faces with elaborate silver, gold, or tumbaga. Usually pendants are also known. Average size human, animal, and geometric designs. consists of joined disks or chain links. is 1 cm., although much larger (4 cm.) Mostly Wankarani, Chiripa, and Average size is one meter in length. and much smaller (2 mm.) sizes are Formative Cultures. Formative Cultures—Inca. recognized. Formative Cultures—Inca. 4. Stelae: Made of sandstone, granite, M. Figurine: Made of copper, bronze, E. Lip plug: Made of lapis lazuli, andesite, or other stone. Includes free- silver, gold, or tumbaga. Usually human sodalite, obsidian, quartz, malachite, standing columnar figures, inscribed or animal (camelid) shape. Often found green stone, or other semi-precious columns, and door jambs. These are in pairs. Range in size from miniatures stone. Normally of discoidal shape. typically engraved with masked figures (2 cm. in height) to small statuettes (50 Average size is 2.5 cm. Formative and other personages. Between one and cm. in height). Lauraques are small (3 Cultures—Inca, including Tropical three meters in height. Formative cm. to 7 cm.) amulet-like figurines of Lowland Cultures. Cultures—Inca. brass shaped like humans. Formative F. Idol/conopa/figurine: Small human 5. Monolith: Free-standing columnar Cultures—Inca. or animal shaped statuettes of turquoise, sandstone, granite, andesite, or other
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stone. Between one and three meters in to the spindle via an aperture in the D. Arrow shaft: Created from a solid height. Formative Cultures—Inca. whorl. Often engraved on the exterior piece of wood. Often tipped with gold J. Rock art: Made of sandstone, basalt, with intricate designs. Bead size spear. Size varies from 30 cm. to 3 granite, limestone, volcanic tuff or, averages 2 square centimeters. Flat disks meters long. other stone. These are portions of larger range from 3 cm. to 7 cm. in diameter. E. Necklace: A thin strip (4 cm.) boulders or cave faces that have been Formative Cultures—Inca. without clasps. Sometimes contain chiseled off. They contain simple G. Snuff tablet: These are shallow, beads, disks, seeds, or pendants. images, either painted, carved, or rectangular trays approximately 20 cm. Formative Cultures—Inca. incised, of animals, humans, geometric, long x 5 cm. wide x 1 cm. in height. F. Mask: These are created from a and abstract designs. Sizes range May be constructed of bone, stone, or single slab of wood. Often carved in the between hand-size and several square wood. These small trays are often shape of feline or human face, with slits meters. Formative Cultures—Inca. carved with intricate designs and inlaid for the eyes and mouth. Average size is 30 square cm. and 3 cm. thick. V. Pre-Columbian Shell Figurines with semi-precious stone and/or shell. Formative Cultures—Inca, including Formative Cultures—Inca, including Ceremonial, sumptuary, and funerary Tropical Lowland Cultures. Tropical Lowland Cultures. shell figurines produced and used by H. Inhaler tube: Small bones that have G. Digging stick: These implements indigenous cultures from the Formative been hollowed, polished, and decorated most often take the form of a central period to A.D. 1533. Small human or on the exterior with engraved and staff (one meter in height) to which an animal shaped statuettes of spondylus, polychrome painted designs. Average appendage is added. The central staff is mother-of-pearl, and/or other shell. size is 8 cm. long x 3 cm. in diameter. often carved. The appendage may be Exterior is finely polished. Often found Formative Cultures—Inca, including secured to the staff with bands of in matching pairs. Animals are usually Tropical Lowland Cultures. precious metals such as gold. Inca camelids. Average size is 5 cm. in I. Amulet/talisman (tembeta): Can Culture. height. Formative Cultures—Inca, consist of a single bone engraved on the H. Spindle whorl: Small globular, including Tropical Lowland Cultures. exterior with a design or a bead, amulet, bead-shaped, or flat circular object that or charm made from bone that has been adds weight and balance to spindles VI. Pre-Columbian Mummified Human used to wind thread. The whorl attaches Remains polished, carved, and/or painted. Size ranges from 2 cm. to 40 cm. Formative to the spindle via an aperture in the Whole or partial mummified human Cultures—Inca, including Tropical whorl. Often engraved on the exterior remains, including modified skulls. May Lowland Cultures. with intricate designs. Bead size be wrapped in textiles. Individual limbs J. Lip plug: Either ring shaped (plain, averages 2 square centimeters. Flat disks often contain bracelets and other thin band) or disk shaped. Average size range from 3 cm. to 7 cm. in diameter. precious metal and shell objects. is 3 cm. in diameter. Formative Formative Cultures—Inca. VII. Pre-Columbian Bone Objects Cultures—Inca, including Tropical IX. Pre-Columbian Basketry Ceremonial, sumptuary, and funerary Lowland Cultures. Ceremonial, sumptuary, and funerary bone objects produced and used by K. Flute or panpipe (zampon˜ a): basketry produced and used by indigenous cultures from the Formative Panpipes range between 20 cm. and 120 indigenous cultures from the Formative period to A.D. 1533: cm.; flutes range from 20 cm. to 120 cm. Period to A.D. 1533: A. Punch: Spike-like implement Formative Cultures—Inca, including A. Basket: Round, square, or approximately 14 cm. long and 1 cm. Tropical Lowland Cultures. rectangular containers with or without wide that tapers to a pointed, sharp VIII. Pre-Columbian Wood Objects handles. May be constructed of reeds, head. Formative Cultures—Inca, vines, grasses, or other vegetal fibers. including Tropical Lowland Cultures. Ceremonial, sumptuary, and funerary Sometimes construction is combined B. Needle: Vary in size from 5 cm. to wood objects produced and used by with cloth, animal skin, or wood. Size 15 cm. in length. Formative Cultures— indigenous cultures from the Formative varies from 4 cm. to 1 meter in height. Inca, including Tropical Lowland period to A.D. 1533: Formative Cultures—Inca, including Cultures. A. Drinking vessel (kero): These are Tropical Lowland Cultures. C. Hook: Semicircular implement of vase-shaped beakers, about 15 cm. in B. Casket: Square or rectangular polished bone that often contains barb. height. A puma or jaguar face is often containers with lids and handles. May Approximately 2 cm. in height. modeled onto the vessel exterior and/or be constructed of reeds, vines, grasses, Formative Cultures—Inca, including the wood is carved or engraved with a or other vegetal fibers. Sometimes Tropical Lowland Cultures. stylized geometric design. Tiwanaku— construction is combined with cloth, D. Figurine: Usually human or animal Inca. animal skin, or wood. Size varies from (camelid) shape. Often found in B. Snuff tablet: Shallow, rectangular 50 cm. to 1 meter in height. Formative matching pairs. Range in size from trays approximately 20 cm. long x 5 cm. Cultures—Inca, including Tropical miniatures (2 cm. in height) to small wide x 1 cm. in height. May be Lowland Cultures. statuettes (50 cm. in height). Formative constructed of wood, bone, or stone. C. Headdress: These are supports for Cultures—Inca. These small trays are often carved with featherwork worn on the head. Can be E. Spindle: Long, spine-like object intricate designs and inlaid with semi- up to 60 cm. in length/height. Formative used in weaving to wind thread in precious stone and/or shell. Formative Cultures—Inca, including Tropical conjunction with a spindle whorl. Cultures—Inca, including Tropical Lowland Cultures. Appear as elongated needles with dull Lowland Cultures. edges. Average size is 17 cm. long x 5 C. Bowl or challador: Compartmented Ethnological Materials mm. wide. Formative Cultures—Inca. bowl carved from a single slab of wood, Ethnological materials date from A.D. F. Spindle whorl: Small globular, with or without handles. Carved or 1533 to 1900. Two broad categories are bead-shaped, or flat circular object that engraved decoration on the surface encompassed in the sections below. adds weight and balance to spindles exterior. Size ranges from 9 cm. to 17 Sections I to VI describe artifacts that used to wind thread. The whorl attaches cm. in height. reflect Pre-Columbian traditions and are
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considered religious in nature or are fibers. Used for ritual purposes by the A. Indigenous Highland Traditions: critically linked to indigenous identity Araona Culture of the Tropical 1. Poncho (balandran, ponchito, and ancestral use and/or manufacture. Lowlands. Size ranges from 120 cm. to choni, khawa, challapata): Square or Section VII encompasses artifacts 210 cm. rectangular overgarment worn by men produced for use in Catholic religious E. Tobacco pipe: Straight tubular usually consisting of two pieces of observance. Some of these items may shape, without a bowl, used by Tropical hand-woven cloth sewn together, with a occur in archaeological contexts. Lowland Cultures in religious slit in the center for the head. May be I. Colonial and Republican Masks (A.D. ceremonies. Often, an X is painted as a dyed with natural or synthetic dyes in 1533–1900) clan symbol on one end of the tube. Size all colors. Plain or striped. Often woven ranges from 10 cm. to 15 cm. These masks are constructed of wood, from alpaca or other camelid fibers. III. Colonial and Republican Musical Some with tassels. Average size is 80 leather or skins, silver, tin, cloth, glass × beads, oil painted plaster, fur, feathers, Instruments (A.D. 1533–1900) cm. 100 cm. 2. Dress (almilla/urku/aksu): The or some combination of these materials, Musical instruments created for and almilla is the dress adopted by with the intent of exaggerating the facial used in indigenous ceremonies. These indigenous women in the sixteenth features, particularly the eyes and include: century tailored from hand-woven wool mouth, of the personage or animal in the A. Charango: Stringed instrument, cloth (bayeta). It consists of a gathered dance. Common themes include the similar to a mandolin or ukelele, skirt attached to a fitted bodice. The devil with horns, old men (Awki), manufactured of wood. The bowl of the urku is a pleated or gathered skirt African faces (Moreno), blonde haired/ instrument is sometimes decorated with characterized by a bold stripe pattern blue eyed men with bullet holes in their animal pelts. About 50 cm. in length. arranged horizontally. The aksu is a foreheads (Chunchus), angels, heroines B. Drum (Sancuti bombo, Wankara women’s ceremonial dress woven from (China Supay), and animals. Size varies bombo, muyu muyu, q’aras): Vary in camelid fiber and constructed from a according to the mask. Some are as size and shape. Generally the box is rectangular, two-piece cloth that is small as 40 cm. or as large as 170 cm. cylindrical and made of wood or tree wrapped around the body and tied at All masks produced until 1900 that bark with skins stretched over the frame are associated with the Christian or the waist. May be dyed with natural or to form the heads. Size ranges from 30 synthetic dyes in all colors. Average size indigenous dance rituals of the Colonial cm. to 60 cm. and Republican Periods are included. is one square meter. These include but are not limited to C. Flutes 3. Mantle/shawl (axsu, tsoc urjcu, tscoc irs, medio axsu, llacota, isallo, masks of the following dances: Dance of 1. Flute (rollano, chaxes, lawatos): La Diablada; Dance of La Morenada; awayo, llixlla, iscayo, phullu, talo Made of hollowed wood with leather ˜ ˜ ˜ Dance of Kullawada; Dance of La unkhuna, nanaqa): Square or strips. These flutes are characterized by rectangular garment composed of two Llamerada; Dance of the Chunchus; six holes. Size ranges from 40 cm. to 100 Chutas Dance; Kusillos Dance; pieces of cloth sewn together. May be cm. dyed with natural or synthetic dyes in Chiriguano Dance; Dance of the Inca; 2. Flute (chutu pinquillo): Made of Dance of the Chunchos; Dance of the all colors. Plain or striped. Often woven uncut flamingo bone with six holes. from alpaca or other camelid fibers. Achus; Dance of St. Ignatius of Moxos; Size ranges from 25 cm. to 35 cm. Dance of the Little Angels; Moors and Designs are typically stripes arranged 3. Flute (pifano): Made of bato bone. across the cloth in a vertical or Christians Dance; Dance of the Sun and Size varies. the Moon; Dance of the Little Bull; horizontal pattern or confined to the 4. Flute (jantarco, sicus): Made of margins of one side of the garment. Dance of the Jucumari; Chiriguano wood with flower designs engraved on Ritual; Dance of the Auqui Auqui; Average size is one square meter. the surface. Diamond shaped in cross- 4. Tunic (unku, ira, ccahua): Man’s Dancer Ritual; Dance of the Misti’l Siku; section. Size varies from 10 cm. to 35 ceremonial vestment constructed from Dance of the Little Bull; Dance of the cm. one piece of cloth which is folded in Tundiquis; Dance of the Paqochis. D. Harp: Stringed instrument made of half and sewn up the sides, leaving II. Colonial and Republican Wood wood and animal skin. It contains 30 openings for the arms at the top and an Objects (A.D. 1533–1900) strings. Size ranges from 80 cm. to 150 opening in the middle for the head. Objects in wood that relate to cm. Designs are typically found in the hip, indigenous ceremonial activities. These E. Mandolin: Constructed of wood sleeve, and neck areas, but there are include: and often inlaid with shell. Size varies. more elaborate examples where stripes A. Drinking vessels (kero, keru, q’ero): F. Whistle (ocarina, willusco): Small, cover the entire garment, some with These are vase-shaped beakers, about 15 hand-held whistle made of wood, 7 cm. silver thread. May be dyed with natural cm. in height. During the Colonial Willusco is small, disk shaped whistle or synthetic dyes in all colors. Usually Period, these wooden cups were with design engraved on surface, 3 cm. made from camelid wool, especially polychrome painted with elaborate to 7 cm. alpaca. Average size is 135 cm. × 92 cm. scenes and designs. G. Panpipe (bajo´ n): Made of leaves 5. Bag (chuspa, alforja, kapachos, B. Scepter (Basto´ n de mando): formed into tubes, attached to each huayacas): Carried by both men and Wooden staff made of palm wood and other with cotton thread. Characterized women; woven from cotton or camelid encased in silver with semi-precious by 10 tubes. Size ranges from 120 cm. fibers in a variety of widths, lengths, stones. Size varies from 45–120 cm. to 180 cm. and colors. Found in either a solid color C. Ceremonial vessels (challador H. Violin (tacuara): Made of wood. or simple polychrome stripe pattern cups/vases): The interiors of these Size ranges from 40 cm. to 50 cm. arrangement with geometric motifs. vessels are segmented into These bags are usually square (20 cm.) IV. Colonial and Republican Textiles compartments. Size ranges between 10– or rectangular with a woven carrying (A.D. 1533–1900) 35 cm. strap. They often contain small pockets D. Bow: Constructed with wood, Textiles woven by indigenous peoples on the pouch exterior and are decorated feathers, and other animal and vegetal for ceremonial or ritual use: with tassels.
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6. Belt (w’aka, tsayi, chumpi, wincha, meters. Cloth may be fragmentary, mid-sized canvas (one square meter), or t’isnu): Worn by both men and women; folded flat, or bundled (q’epi) for use in wall-sized renditions. woven from cotton or camelid fibers in ritual ceremonies. D. Reliquaries: Include painted and a variety of widths, lengths, and colors. engraved depictions of patron saints V. Colonial and Republican Found in either a solid color or simple (santos/santas), angels, Christ, the Featherwork (A.D. 1533–1900) polychrome geometric design. Virgin Mary, the apostles, and the Holy 7. Scarf/muffler: Worn by both men Featherwork produced for ceremonial Family primarily on wood, ceramic, and and women; woven from camelid fibers use consists of colorful, tropical feathers metal such as silver. Bolivian reliquaries or sheep’s wool with natural dyes in a attached to leather, cloth, wood, or other are essentially small lockets and do not variety of widths, lengths, and colors. material, such as basketry, to create always contain relics. Size ranges from Consists of one rectangular piece. adornments worn on the wrists, ankles, 3 cm. to 25 cm. Approximately 50 cm. in length. neck, waist, back, and head, including E. Trunks/coffers (petaca): Made of 8. Hat: Caps (10 square cm.) worn by the lips and ears. Most typically found leather and gilded wood or of silver. men and nan˜ acas worn by women that are headdresses, which may consist of These small boxes (30 cm. length) or range in size between 10 square cm. and small, modest crowns (30 cm. average) large trunks (1.5 meters in length) held one square meter. Both are woven from or large, towering bonnets of Suri altar objects, such as chalices and holy camelid fibers and silk, and dyed with feathers (80 cm.). This category also oil, during transport. natural pigments in red, blue, green, includes feather-covered ritual belts and F. Retablo: Made of wood and orange, yellow, tan, brown, black, textiles (35–70 cm.), fans (250 cm. long), precious metals such as gold or silver. purple, or a combination of colors. staves or batons (145–250 cm.), basketry These are altars or architectural wall When present, designs are geometric or supports, and healer’s amulets or facades behind existing altars that depict highly stylized animals such as photadi (80–250 cm.). contain niches and a tabernacle. Often llama and other camelids. disassembled in pieces. May be as large 9. Sling (wichi wichis, qorawas): VI. Colonial and Republican Ceramics as 20 meters high x 7 meters wide; Rectangular band of cloth (25 cm. × 10 (A.D. 1533–1900) portions vary—a niche may be one cm.); long ends taper to a loop where A. Ceremonial drinking vessels square meter. Small, self-contained ropes are attached to either side. (recipiente, andavete, trampavaso): units that appear as boxes with hinged 10. Cloth: Square, rectangular, or Containers and serving vessels used in doors are as small as 40 cm. in height. fragmentary cloth woven from fine the ceremonial context of chicha Miniatures average 5 cm. in height. camelid fibers, silk, and/or silver and drinking. In post-Columbian times, G. Altar pieces: Altars and their gold threads, or constructed from soft these are hard ceramics with glassy components (for example, frontal, tree bark or other natural fiber, and dyed surfaces resulting from the application grates, sacristy) made of gilded wood, with natural pigments in red, blue, of a mineral glaze. May be brown, green, gold, or silver. Often decorated in green, orange, yellow, tan, brown, black, blue, red, or any combination of colors. repousse. Average size is 1.6 meters x purple, or combination of colors. Some Vary in size and shape from handled 1.2 meters. examples are striped in a vertical or jars, pitchers, cups, and vases, to H. Altar objects: These include horizontal pattern. Average size ranges animal-shapes (bull, tiger, llama, hoof). chalices, monstrances/ostensoria, between six square centimeters and six B. Ritual smoking pipes: Tubular cruets, candelabras, lecterns, incense square meters. Cloth may be shape without tobacco bowl. The burners, hand bells typically made of fragmentary, folded flat, or bundled average size is from 10 cm. to 15 cm. gold and silver and decorated with (q’epi) for use in ritual ceremonies. precious stones, shell such as pearl, or VII. Colonial and Republican Religious Woman’s ritual cloth, called icun˜ a, tari, other adornments. Size varies according Art (A.D. 1533–1900) or n˜ an˜ aca, is also included in this to object. This category also includes category. A. Statues: Made of wood, maguey, ceramic, metal, and wooden challadores gesso, silver, gold, bronze, alabaster, or and ceremonial drinking cups. B. Indigenous Lowland Traditions (A.D. other stone and often decorated with gilt I. Church furniture: Made of wood, 1533–1900): paint. Typical statuary for this period silver gold, stone, brass, or bronze. 1. Long shirt (camijeta/ tipois): Tunic- includes depictions of patron saints Includes carved picture frames, like vestment made of cotton or vegetal (santos/santas), angels, Christ, the confessionals, pulpits, pedestals, litters, material such as bark. Tassels often Virgin Mary, the apostles, and the Holy choir stalls, chancels, banisters, lectern, attached to lower edge. Size is 133 cm. Family. Gold and silver crowns and saint’s flags, and church bells and long x 71 cm. wide. other adornments in precious metals chimes. Size varies according to object. 2. Woman’s Two Piece Vestment and precious stone are often found on J. Crowns and radiations: Made of (tsotomo and noca): Long, straight skirt these statues. Some are dressed with silver and gold, these objects are found (noca) and separate bodice (tsotomo) brocade and tapestry cloth made from alone or in conjunction with religious made of cotton or vegetal material such gold and silver threads. Some are statuary depicting the Virgin and Jesus. as bark. Noca size is 50 cm. long × 40 holding objects such as swords. Size Size varies from 10 cm. to 30 cm. cm. wide; Tsotomo size is 11.5 cm. deep varies from 30 cm. to two meters. K. Garment pin (tupu/prendedor): x 35 cm. long. B. Crucifixes: Made of wood, maguey, Made of copper, bronze, brass, silver, 3. Cloth: Square, rectangular, or alabaster, silver, gold, bronze, brass. gold, or tumbaga. A large pin with a fragmentary cloth woven from cotton, or Size varies from 5 cm. to 200 cm. long shaft (15 cm.) that usually constructed from soft tree bark or other C. Oil paintings: Include depictions of terminates with flat, discoid head (4 natural fiber, and dyed with natural patron saints (santos/santas), angels, cm.), often embossed with design. Some pigments in red, blue, green, orange, Christ, the Virgin Mary, the apostles, heads are inlaid with semi-precious yellow, tan, brown, black, purple, or and the Holy Family on wood, metal, stone. combination of colors. Some examples canvas (lienzo), and other cloth. With or L. Liturgical vestments: Garments are striped in a vertical or horizontal without frame. The archangel is a worn by the priest and/or other religious pattern. Average size ranges between six central theme. Oil painting is found on dignitaries made of fine cotton, silk, and square centimeters and six square objects as small as reliquaries (3 cm.), gold and silver thread. This category
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includes the chasuble, dalmatic, alb, subject to the regulatory analysis or PART 12—[AMENDED] stole, girdle, maniple, rochet, musette, other requirements of 5 U.S.C. 603 and mitre, and bonnet. Size varies according 604. 1. The general authority and specific to garment. authority citations for Part 12, in part, Executive Order 12866 continue to read as follows: Inapplicability of Notice and Delayed This amendment does not meet the Authority: 5 U.S.C. 301, 19 U.S.C. 66, 1202 Effective Date (General Note 22, Harmonized Tariff criteria of a ‘‘significant regulatory Because the amendments to the Schedule of the United States (HTSUS)), action’’ as described in E.O. 12866. Customs Regulations contained in this 1624; document merely remove reference to Drafting Information * * * * * expired import restrictions and impose Sections 12.104 through 12.104i also import restrictions on the above-listed The principal author of this document issued under 19 U.S.C. 2612; cultural property of Bolivia in response was Bill Conrad, Regulations Branch, * * * * * Office of Regulations and Rulings, U.S. to a bilateral agreement entered into in 2. In § 12.104g, paragraph (a), the list furtherance of a foreign affairs function Customs Service. However, personnel of agreements imposing import of the United States, pursuant to the from other offices participated in its restrictions on described articles of Administrative Procedure Act (5 U.S.C. development. cultural property of State Parties, is 553(a)(1)), no notice of proposed List of Subjects in 19 CFR Part 12 amended by adding Bolivia in rulemaking or public procedure is appropriate alphabetical order, as necessary and a delayed effective date is Customs duties and inspections, follows, and paragraph (b), the list of not required. Imports, Cultural property. emergency actions imposing import Regulatory Flexibility Act restrictions, is amended by removing Amendment to the Regulations the entry for ‘‘Bolivia’’: Because no notice of proposed rulemaking is required, the provisions Accordingly, Part 12 of the Customs § 12.104g Specific items or categories of the Regulatory Flexibility Act (5 Regulations (19 CFR Part 12) is designated by agreements or emergency U.S.C. 601 et seq.) do not apply. amended as set forth below: actions. Accordingly, this final rule is not (2) * * *
State party Cultural property T.D. No.
Bolivia ...... Archaeological and Ethnological Material from Bo- T.D. 01–86 livia.
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* * * * * DEPARTMENT OF HEALTH AND DATES: This rule is effective December 7, Dated: December 4, 2001. HUMAN SERVICES 2001. Robert C. Bonner, Food and Drug Administration FOR FURTHER INFORMATION CONTACT: Commissioner of Customs. Lonnie W. Luther, Center for Veterinary Timothy E. Skud, 21 CFR Parts 510 and 558 Medicine (HFV–102), Food and Drug Acting Deputy Assistant Secretary of the Administration, 7500 Standish Pl., New Animal Drugs; Change of Sponsor Treasury. Rockville, MD 20855, 301–827–0209, e- [FR Doc. 01–30417 Filed 12–5–01; 10:36 am] AGENCY: Food and Drug Administration, mail: [email protected]. BILLING CODE 4820–02–P HHS. SUPPLEMENTARY INFORMATION: Koffolk, ACTION: Final rule. Inc., P.O. Box 675935, 14735 Las Quintas, Rancho Santa Fe, CA 92067, SUMMARY: The Food and Drug has informed FDA that it has transferred Administration (FDA) is amending the animal drug regulations to reflect a ownership of, and all rights and interest change of sponsor for six approved new in, the following NADAs to Phibro animal drug applications (NADAs) from Animal Health, 710 Rte. 46 East, suite Koffolk, Inc., to Phibro Animal Health. 401, Fairfield, NJ 07004.
NADA Number Established Names of Ingredients
9–476 ...... Nicarbazin 98–378 ...... Nicarbazin/Bacitracin Methylene Disalicylate 107–997 ...... Nicarbazin/Lincomycin/Roxarsone 108–115 ...... Nicarbazin/Roxarsone 108–116 ...... Nicarbazin/Lincomycin 141–146 ...... Nicarbazin/Bacitracin Zinc
Accordingly, the agency is amending Following the change of sponsor of applications. Therefore, 21 CFR the regulations in 21 CFR 558.366 to these NADAs, Koffolk, Inc., is no longer 510.600(c) is amended to remove the reflect the transfer of ownership. the sponsor of any approved entries for this sponsor.
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