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Symbols Fall S I A PUBLICATION OF THE PEABODY MUSEUM AND THE DEPARTMENT OF ANTHROPOLOGY, HARVARD UNIVERSITY • 11 DIVINITY AVENUE CAMBRIDGE, MA 02138 JEFFREY QUILTER JOINS PEABODY MUSEUM AS ACCOUNTING WITH DEPUTY DIRECTOR FOR CURATORIAL AFFAIRS STRINGS ATTACHED The Khipu Database Project In July 2005, the Peabody Museum welcomes Jeffrey Quilter as Deputy Director for Curatorial Affairs and Curator of Gary Urton Intermediate Area Collections. Jeff joins the Museum after 10 Dumbarton Oaks Professor of Pre- years as Director of Pre-Columbian Studies and Curator of the Columbian Studies, Harvard University, Pre-Columbian Collection at Dumbarton Oaks, in Curator of Andean Collections, Peabody Washington, D.C. He received his undergraduate education at Museum. Photos by Hillel Burger New York University and the University of Chicago and the Ph.D. from the University of California, Santa Barbara, in Among the hundreds of extraordinary Anthropology, in 1981. He has taught at the University of specimens that make up the Peabody Jeff Quilter: photo Maryland, George Washington University, Yale University, and Museum’s collection of textiles from by Barbara Fash. Ripon College, Wisconsin, where he served on the faculty for Pre-Columbian Peru, there is a baker’s 15 years. dozen of what represents one of the Jeff has already been hard at work on creating a new exhibition for the Peabody most intriguing systems of record Museum, opening this Fall, based on the Peabody’s excellent Moche collections. keeping invented by an ancient civiliza- “The Moche of Ancient Peru: Media and Messages” will open October 21 as part tion. These devices are known as khipu of a three-day conference on the Moche and Maya civilizations. (also spelled, in a hispanicized form, Jeff has conducted archaeological field investigations in several U.S. states while quipu). The name of these objects his special interests have focused on Peru and Costa Rica. His recent research at comes from a word meaning “knot” in the El Brujo archaeological complex, Peru, was funded by the National Quechua, the lingua franca and admin- Geographic Society, and a preliminary publication “Peruvian Temple of Doom” istrative language in the Inka Empire appeared in the July 2004 issue of the society’s magazine. With Prof. Luis Jaime (c. 1400 – 1532 CE) of western South Castillo of the Catholic University of Peru, Jeff organized the 2004 Dumbarton continued on p. 2 Oaks Symposium: New Perspectives on Moche Political Organization. Presentations from that symposium will be published as a volume in the near continued on p. 8 Featured in this issue: A ccounting with Strings Attached GARY URTON page 1 Lewis and Clark’s Grizzly Bear Claw Necklace I. CASTLE MCLAUGHLIN page 3 Becoming Indonesian: Post-Colonial Photography in Indonesia KAREN STRASSLER page 5 Technical Study and Conservation of Colonial Period South American Figurines ESTHER CHAO and JUDY JUNGELS page 6 Field Photography: the Marsh Arabs of Iraq, 1934 OMAR AL-DEWACHI page 9 Figure 1: Detail, khipu, Nazca Valley, Peru, T4554. America. The common form taken by system of number signs—for instance, In the ongoing effort to understand the Inka khipus is threads of spun- 243 = three ones, four tens and two the khipus, the Peabody Museum is and-plied camelid hair or cotton one-hundreds—the Inka would indi- hosting the Khipu Database Project fibers formed into what is called a cate the same value by placing a knot (khipukamayuq.fas.harvard.edu). main or primary cord, which is usu- signifying three single units near the Under the direction of the author, the ally about a half a centimeter in diam- bottom of a pendant cord, then four Project is creating a specialized appli- eter. From the primary cords, a knots each signifying ten at the next cation for storing data from individual variable number of thinner wool or highest level of that same cord, and khipus and for querying those data. cotton strings, called pendant cords finally, two knots at the highest level Almost three years after its incep- (Figure 1), are suspended. The pri- on the cord, each of which signified tion, the Khipu Database Project has mary and pendant cords of khipuse ar one-hundred. entered data on some 270 samples, often strikingly colorful, the result One of the major challenges of including the Peabody Museum’s own either of the varied hues of the khipu studies arises here, for while thirteen samples (Figure 3), from the camelid hair or native cotton used to students of the khipus are able to estimated 600 in collections around construct the strings or the applica- interpret numerical values knotted the world. Analysis of the data is tion of vegetal dyes to the raw fibers. into cords, we still cannot say in most already yielding significant results in There are numerous examples of cases what was being enumerated. In identifying patterns in the features of khipus tied together in arrangements fact, the great unknown that lies at the khipu construction (e.g., patterning in that suggest that the information con- heart of khipu studies is the attempt to the organization of numbers and col- tained in the linked samples formed answer the question of how the Inka ors, the direction of spinning and ply- interconnected accounts. One extraor- record keepers indicated the identities ing of threads, the knotting of dinary sample in the Peabody of the many different categories of pendant cords, and the attachment of Museum is composed of five individ- peoples, actions, and objects they were pendant cords to primary cords). ual khipus tied together in a ring responsible for recording in these Significant breakthroughs that are (Figure 2). knotted-string devices. The only area made by the Khipu Database Project Most khipu pendant cords have in which we have been able to inter- may help researchers at Harvard and knots tied into them. From work car- pret the numerical knots with any elsewhere begin to unravel the stories ried out on khipus early in the twenti- degree of confidence concerns calen- encoded in the Inka knotted-string eth century, we know that the knots of drical values; for instance, a series of recording device, the khipus. most khipus are arranged in clusters at 12 cords with values of 29 or 30 is different levels to indicate numerical thought to represent a series of lunar The Khipu Database Project is supported values in the Inka decimal-place sys- months, while numerical totals of by the National Science Foundation, tem of numeration. For instance, just approximately 365 are thought to rep- Dumbarton Oaks, and the Harvard as we would organize number signs resent the number of days in a solar University Faculty of Arts and Sciences and managed by Carrie J. Brezine, a mathemati- from right to left in our decimal-place year. cian, database specialist, spinner and weav- er, and student of ancient Andean textiles. Figure 2: Five khipus strung together, Nazca Figure 3: Two khipus tied together, Nazca Valley, Peru, T3310. Valley, Peru, T4563. 2 • Symbols L C’ G B C N I. Castle McLaughlin Associate Curator of North American Ethnography, Peabody Museum The Peabody’s rare and valuable col- ognized it as a lection of Native American objects North American acquired by Meriwether Lewis and object, and its William Clark has generated tremen- identity was dous interest during the current quickly estab- bicentennial of the 1804–1806 expedi- lished. tion. The collection, and the Peabody’s In addition, related research and collaborative the object itself projects, have been featured in a range may be the most of scholarly and popular media across visually com- the country. But the “rediscovery” of a pelling and single object—a grizzly bear claw meaningful of all necklace thought to have been lost to surviving Lewis history—has excited the public and and Clark arti- researchers anew. facts. Made from The rarity of the necklace and its thirty-five large James P. Ronda, professor of Western American History, University of intriguing “lost and found” life history grizzly claws, Tulsa (right), with Scott Fulton, conservator and Castle McLaughlin, have generated some of this interest. (three more have curator, in the Peabody’s conservation department with the bearclaw necklace, March 2004. Photo by Esther Chao. Few expedition artifacts of any kind become remain, and it has been decades since detached) strung a previously unknown Lewis and on a foundation of river otter fur, the bears. It is possible that those bears Clark object of this significance has necklace evokes an ancient and endur- were Plains Grizzlies, a type of North surfaced. The necklace first came to ing human respect for the power of American brown bear that is now the Peabody as part of a large acces- bears. Native peoples of North extinct. The absence of stylistic elabo- sion from the Boston Museum in America recognized bears as healers ration makes tribal attribution diffi- 1899, which included other Lewis and and warriors and many cultures con- cult to determine, but the necklace Clark materials originally from the sidered them to be closely related to was almost certainly given to Lewis Peale Museum. It was recorded in the humans. Bears have played a promi- and Clark by a leader from a Plains or nent role in North American belief Rocky Mountain tribal group. Chiefs and ritual for thousands of years, and customarily presented the captains “medicine” necklaces made from their with emblems of their leadership in …brave men wear collars made of claws and teeth have great antiquity. exchange for formal diplomatic gifts the claws of the brown bear which During the historic era, grizzly claw from the United States, such as peace are also esteemed of great value and necklaces were generally associated medals and military uniforms.
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