The 6th International Conference on Amerindian Textiles

Thursday 28th, Friday 29th and saturday 30th of November 2013

musée du quai Branly – Cinema Room

Amerindian Textiles: Crossed Perspectives on Colors and Current Research Topics

ABSTRACTS

This Conference is a continuation of Victoria Solanilla’s commitment to organizing a Pre-Columbian textile conference in Barcelona every three years. It considers Pre-Columbian textiles as well as related historic and ethnographic textiles from all the Americas and privileges interdisciplinary and interregional approaches. Inspired by research currently being conducted at the musée du quai Branly, one of the sessions at the conference is specifically devoted to the role colors played and still play in Amerindian textiles

Rommell ÁNGELES FALCÓN* & Mirtha CRUZADO** * Museo de sitio de Pachacamac, Peru; ** Universidad Nacional de Trujillo, Peru

“Textiles from the Inca period found in Calca, Cusco”

In the framework of an environmental impact archaeological project, a section of the cemetery of the site Totora I has been investigated in 2012, as well as graves located on the banks of the Qocchoc river, a tributary of the Vilcanota river, in the district of Calca (Calca province, Cusco department). The study involved 152 rock shelters with disturbed graves, of which 52 contained fragments of textiles and ropes, organic materials seldom found in the highlands due to their moist climate. The textiles were associated with Inca and Killke pottery, characteristic of Late Intermediate and Inca periods (ca 13th - 16th c.). The ropes, in vegetable fibres, had been used to tie the mummies. The other textiles were mostly made from camelid fibres: warp-faced woven textiles, some with discontinuous warps or striped, flat braids, looped fabrics, and cotton textiles in smaller proportions. At a morphological level, one observes cloths, slings, broken hats, belts, bands, and bags in camelid fibres. Although the sample is small, distinction can be made between fabrics produced in Cusco before and during the Inca Empire, and those produced on the coast. And one notes that they conform to a single textile tradition that spanned between the Late Intermediate Period and the Late Horizon.

Denise Y. ARNOLD* & Elvira ESPEJO** *Sainsbury Research Centre, University of East Anglia, United Kingdom; **Instituto de Lengua y Cultural Aymara, La Paz, Bolivia

“Production techniques and thoughts about colour: Ethnographic and ontological methods for the register of colour in Andean textiles”

We compare two experiences concerning colour in Andean textiles: first in research on the use of natural dyes among modern weavers around the city of Challapata (Bolivia) and second, in the application of this knowledge to a method for registering colour in textiles in museum collections, this time going from the object colour to the production processes in its making. We examine the planification of the combinations of colours and designs through the instruments called waraña, and continue with the register of the dyeing processes in water and the colour variants depending on the immersion. We register the application of colour in different moments of the productive chain (by impregnation, immersion, reserve techniques, outlining, application to the textile surface, or combinations of these). In another stage of the productive chain, we register colour use in relation to the structures and techniques used in the weaving process, by the arrangement of the colour layers and types of contrast used in the textile. Finally, we model a digital and ontological system to convert the values we worked with to digital codes for documentation on the internet. We contrast this approach with others centred on the abstract values of light and shadow, based on Newtonian theory. We conclude with an Andean “theory of colour” in which the notions of primary and secondary colours are distinct from those in the light-based system.

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Aïcha BACHIR BACHA*, Oscar Daniel LLANOS JACINTO** & Patricia LANDA** *EHESS, CeRAP, Paris; **Kurator taller de investigación, conservación y restauración, Lima

“Reflections on the Paracas Textiles of Animas Altas, Ica, South Coast of Peru”

To speak of the Paracas culture is to evoke the colorfulness and aesthetic and technical originality of its textiles. Although these textiles are known worldwide, many lack detailed documentation. On the one hand, various researchers show great interest in the investigation of the textiles attributed to early Paracas (800-600 BC), which are stylistically related to Cupisnique and Chavin, and on the other hand, to those that are assigned to Paracas Necrópolis, although many present an iconography that is clearly Nazca (50/100 BC-350/400 AD). The present paper attempts to fill in the gap by presenting the results of analysis related to the archaeological contexts, the manufacture and the symbolism of textiles recently discovered at Animas Altas, a major Paracas site, which is located on the lower Ica Valley and dates from 500 BC-150 AD. Special emphasis will be placed on the textiles discovered in the fills, on the floors’ surface and near of the structures’ walls, which were deposited by the Paracas people at moments of founding, renovating or closing civic-ceremonial buildings.

Lena BJERREGAARD Ethnologisches Museum, Berlin

“Sicán textiles from Pachacamac in the Ethnographic Museum of Berlin”

Sicán culture flourished on the North Coast of Peru between 900-1100 AD producing resplendent arts in different media. The Ethnologisches Museum in Berlin has a large and hitherto unstudied collection of Sicán textiles excavated at the coastal oracle site of Pachacamac far to the south, where the conditions are more favorable for preservation. The collection includes many complete textiles as well as fragments collected by Wilhelm Gretzer, a German textile merchant, around the turn of the last century. Many of the tapestries depict the Sicán Deity or Lord, and an even larger number show a range of 3-dimentional plants, animals, religious or every-day activities like people tending to their crops, carrying bundles of produce or leading llamas used for transport. This paper will describe the characteristics of Sicán textiles and explain their weaving techniques as well as their clothing styles and iconography. The Department of Conservation and Scientific Research at the British Museum has identified the special green color that is so characteristic and unique for Sicán Textiles. I will also present a previously unidentified textile now identified as a woman’s hip cloth.

Nathalie BOUCHERIE*, Witold NOVIK** & Dominique CARDON*** *Centre Interuniversitaire d'Histoire et Archéologie Médiévale, Université Lumière Lyon 2, **Centre de Recherche et de Restauration des Musées de France, Paris & ***Centre National de la Recherche Scientifique, CIHAM, Lyon

« Dyeing techniques and dyestuffs used in the Nasca culture (Peru): Research on forgotten lore”

Nasca culture flourished in the Early Intermediate Period (ca. 200 BC – 700 AD) in the midst of the arid south coast of Peru. The Nasca have produced numerous textiles. Many of them

3 are of exceptional quality, with bright and varied colours. Indeed, polychromy seems to be a feature very important in Nasca representations, especially in fine ceramics and Early Nasca textiles. The Nasca dyers have probably developed many techniques and tested many raw materials in order to obtain fast and numerous colours: to place special emphasis on polychromy, they must reach the complete expertise of dyes. Nevertheless, no one knows but little about this theme. In these conditions, a huge study was carried out on Nasca natural dyes within the framework of a PhD. Dyes analysis were realized by High Performance Liquid Chromatography (HPLC) on textile samples that are representative of Nasca production. This investigation has revealed the main characteristics of Nasca dyeing production: the selection of some specific dyestuffs, the development of particular techniques and recipes, and the evolution of these practices during time.

Shelley A. BURIAN Emory University, Atlanta, USA

“Mistakes as Innovations: Interrogating Creative Color Use in a North Potosí lliklla” (POSTER)

This presentation is a case study of colour anomalies in a Bolivian lliklla (shawl) in the Llallagua style in the collection of Emory University’s Michael C. Carlos Museum. A close examination of the piece revealed that it contained alterations to the weave with the wrong warp selected in small areas of the iskay pallay stripes. Although some of these changes were clearly unintentional, some were repeated to form a secondary design indicating they were a deliberate choice on the part of the weaver. The deliberate violation of pattern requirements in order to add a layer of meaning to a piece has a long history in Andean weaving. These alterations fit comfortably within that tradition through re-creating the colour contrasts seen between the larger sections of the pattern on the level of individual threads. Through this process the symbolic value of these contrasts (allqa and suwamari) becomes even more embedded in the piece.

Caterina CAPPUCCINI, Thibaut DEVIESE & Catherine HIGGITT British Museum, London

“Study of the Degradation of Andean Natural Organic Colorants: A Colorimetric and Analytical Study” (POSTER)

Natural organic dyes are frequently highly fugitive and in studying archaeological textiles it is important to understand colorant degradation to interpret analytical results, explore possible changes in appearance and to inform conservation, preservation and display strategies. An accelerated light-ageing experiment has been started using a set of 30 reference samples of Andean dyes, including the most commonly identified colorants based on the literature and analytical work at the British Museum. The dyes are prepared on wool, camelid fibre and cotton and a number were produced by contemporary Andean dyers. To explore colorant sensitivity, identify degradation markers and investigate deterioration mechanisms both colour change (colorimetric study) and changes in chemical composition (HPLC-PDA) are being assessed. Soft extraction methods are allowing changes in acid-labile components that may be significant to be followed. Structural changes to the fibres themselves will also be

4 evaluated to address conservation concerns and inform work on species identification for camelid fibres.

Georgia DE HAVENON The Brooklyn Museum, New York, USA

“The Iconographic Significance of Blue in Pre-Columbian Textiles” (POSTER)

The poster will focus on the use of blue in the fields of Pre-Columbian textiles from the time of the Wari (500-800 AD) and Chimu (1000-1476 AD) cultures. At times the appearance of blue is an anomaly and at other times it is used for the most important elements of the design, two aspects of the textiles that will be considered.

Danièle DEHOUVE Centre National de la Recherche Scientifique & Ecole Pratique des Hautes Etudes, Paris

“Textiles in Aztec rituals and for contemporary Indians (Mexico)” The Nahua notion of ixiptla ("substitute, impersonator") is central to understanding the ritual use of clothing in both Aztec society as well as among contemporary Nahuas. It is in fact when the distinctive ornaments of a divine or royal entity are laid upon a support that the latter is transformed into an "impersonator". The ornaments are made of varied materials - paper, skin, precious stones, feathers and textiles - as are the supports that could be a human person, a model, a figurine in dough of amaranth or cut stone. The presentation will review these ritual practices, with a particular emphasis on ixitptla in the form of cut stones dressed in miniature clothes, the cult of which continues until today.

María Elena DEL SOLAR Anthropologist, Lima, Peru

“The reinvention of the challpi wathrako in establishing Wanka identity (20th century). The production of woven belts in the Mantaro valley, Junín, Peru”

In many areas of the Peruvian sierra and coast, the belt woven on a backstrap loom is a particular item of the traditional costume, which conveys a vast amount of information: designs are re-established and recreated to represent in an artistic way a specific cultural identity. Worn both by women and men, they are either visible as a decorative and functional piece of the clothing, or hidden by skirts or trousers when covering and girdling the waist. The challpi wathrako (in Wanka Quechua) of the Mantaro valley, in the central highlands of Peru, is a diagnostic element that uses the technical and symbolic language of weaving to represent historical and social events, and to trace the relations with other areas and its local understanding. The identification of more than 80 designs on belts woven since the 1940s in various combinations resulting from individual preferences (a process sanctioned by custom) allows us to consider this item of clothing from a perspective that goes beyond its structural aspects. This paper accounts for the presence of the Mantaro challpi wathrako in different aspects of the life of the rural population of the valley and for its being an indispensable element of the costume accompanying the principal performances of Wanka identity.

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Sophie DESROSIERS École des Hautes Études en Sciences Sociales – Centre de Recherches Historiques, Paris

“Textile as a matrix for the development of visual arts in the Andes”

The observation that numerous geometric designs on artwork of various media from several pre-Hispanic cultures of the Peruvian coast appear similar to those found in textiles has been made in the past. The direct links between these designs and textiles, however, has not been examined in detail. As a means to identify the actual sources for this extensive design program, the author shows how the understanding of some present weaving practices from the highland can help in the decipherment of this relationship that had developed in the past, and in particular in the reconstruction of the complementary-warp techniques underlying their creation. In use in the highlands since at least the Early Horizon, these techniques are not a recent invention, though we know only a few examples from the period. The numerous adaptations of these warp-patterned designs made with other media, as seen on ceramic and metalwork for example, come from both the south and the central coast of Peru at the end of the Early Horizon and during the Early Intermediate Period. These references provide new means to examine the relationship, not only between media, but between the cultures of the coast and the highlands: especially important as they occur during periods when, due to the lack of material and the subtle evidence of their interaction, they are not easy to detect.. These complementary-warp textiles have played an important role in the history of Andean art and should now be recognized for their contribution to the development of Andean culture and history.

Beatriz Ofelia DEVIA CASTILLO*, Marianne CARDALE DE SCHRIMPFF**, Carlos Alfonso DEVIA*** & Camilo NIÑO YZQUIERDO**** *Universidad Distrital Francisco José de Caldas (Bogotá); **Fundación Pro Calima (Bogotá), ***Universidad Javeriana (Bogotá); ****Comunidad Indígena Ika, Nabusimake (Colombia)

“Towards a knowledge of the dye plants used by the indigenous Ika community of the Sierra Nevada de Santa Marta, Cesar, Colombia”

We present the results of a comparative study of the sources of the colorants detected in the pre-Columbian textiles once made by several indigenous groups of the Eastern Cordillera in Colombia (the Guane, U´wa and Muisca) and in those still used today by the indigenous Ika people of the Sierra Nevada de Santa Marta in Northern Colombia, (Cesar Department). All these groups speak, or spoke, languages of the same (Chibchan) linguistic family. This study, which is being carried out with the participation of the Ika community, demonstrates that in both the archaeological textiles and the ethnographic examples, the dye techniques are for cellulose fibres and that the use of brazil wood (possibly Haematoxylum sp.) is common to both regions. So far 14 different species of dye plants used by the Ika have been identified, employed both for practical purposes and for religious offerings. Those members of the community who gather the dye plants act in accordance with the ancestral lore of their community.

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Thibaut DEVIESE & Catherine HIGGITT British Museum, Londres

“HPLC-PDA Study of Colorants in Andean South Coast Textiles Drawn from the Collections of the British Museum and the musée du quai Branly”

This paper presents the results of an analytical study of natural organic colorants in a group of textiles from the Andean South Coast, covering a broad time period and preserved in the British Museum and the musée du quai Branly collections. The majority of the dyes (plant and animal-derived) are on camelid fibre but some dyed cotton are also considered amongst the group examined. To preserve sensitive dyes and components potentially indicative of the biological source and informative of dyeing technology, soft extraction methods have been used, combined with chromatographic analysis (HPLC-PDA) to give detailed molecular characterisation. The methods are also optimised to ensure extraction of colorants of all dye classes from a single sample. Comparison of the results from archaeological textiles with those from reference materials collected/produced from Andean coastal and highland regions is vital to the interpretation of the data. In some cases the chromatographic profile can be related to the biological species used but often variations induced by the dyeing process and degradation processes limit the interpretation. Being drawn from museum collections, the textiles examined often lack firm provenance information. This work aims to provide additional data to complement and extend the study of garment form and function, weaving materials and techniques and iconographic analysis in order to more securely date or give a provenance to the textiles. Trends are apparent in the choice of red dye within this group of south coast textiles, suggesting that changes in dye selection around the Nasca/Wari transition textiles may provide valuable new insights.

Penny DRANSART University of Wales Trinity St David, United Kingdom

“The Sounds and Tastes of Colours: Hue and Saturation in Isluga Textiles”

This paper will examine specific colour qualities in ethnographic textiles (in particular as related to hue) in the light of theories concerning synaesthesia and chromaticism. Ethnographic literature, including Lévi-Strauss’s work on chromaticism, will be consulted as well as Taussig’s surrealistic perspective on the alchemy of colours. In contrast to previous work by Cereceda, which has drawn attention to the tonal qualities of colour in Isluga textiles in northern Chile, this paper will address notions of saturation in the use of hue and how weavers employ different forms of colour contrast in their textiles. During much of the twentieth century, Isluga weavers exhibited a less exuberant use of hue compared to other regional traditions elsewhere in the Andes. Weavers’ attention to the prismatic and atmospheric colours they perceive in their environment and their sense of when to use the most saturated hues will be explored in relation to the intended use of different categories of textile and in relation to the changing conditions concerning the qualities of natural and artificial light to which the weavers are exposed. This paper, examining signification and meaning in the use of hue, is based on the author’s fieldwork in Isluga conducted since the mid-1980s.

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Arnaud DUBOIS École des Hautes Études en Sciences Sociales & musée du quai Branly, Paris

“Extension of the properties of nature and development of material culture: Indigenous American uses of the coloured soil and dyes juices”

In L’Homme et la matière, Leroi-Gourhan asked anthropologists to consider the fact that on the American continent «colored soil for pottery is also used to fix the vegetal dye for fabric." He remarks that «alumina and chromium, the base of many ceramic glazes, are also essential matter to fix the dye." This connection through matter, of the art of pottery (terracotta color) and the art of dyeing (color shades) leads him to propose a new perspective in the study of material culture. In coordinating conventional systems based on morphology and practice (metal, pottery, weaving), with those based on technical conventions and extension of the properties (uses of soils and plant juices), anthropologists could lead to original collection which show that material culture is not entirely in the technical acquisitions. The study of the practices of Indigenous American colored and coloring materiality allows us to suggest an anthropology of color that doesn’t renew the nature/culture dualism but instead shows their co- construction and co -production.

Gloria ESTEBAN Archaeologist, Gothenburg, Sweden

“Uniting fragments - Examples from the Gretzer collection in Gothenburg” (POSTER)

The Museum of World Cultures has in its possession collections of archeological materials from Peru. A large part of these were acquired in the period of 1915-1932 among others through exchanges with other European institutions and museums. This is the case with the Gretzer collection which was acquired by the museum through exchange and purchase with two museums in Germany. Parts of the material in the collection have been published on various occasions by researchers. But because of its dispersion between eight different museums, it is difficult to understand the entirety of the collection and to get an overall view of the materials. This problem is particularly evident in the case of textile materials where different parts of the same textile are part of various collections. Our proposal is to virtually/digitally reunite textile fragments from the collection with corresponding fragments in other museums. This would grant us a greater understanding of the collections as well as an understanding of how textiles were curated by the museums in the early 1900s.

Jane FELTHAM* & Peter EECKHOUT** *London, United Kingdom, ** Université Libre de Bruxelles, Belgique

“Miniature garments from Pachacamac”

The paper deals with small garments found with mummies or buried separately as offerings. A complete description of the various garments will be given and a comparison made with others from the Sacred Precinct at Pachacamac and from other regions of Peru. Our goal is to form a typology for these garments and to explain why they were made.

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Blenda FEMENÍAS Catholic University of America, Washington, D.C., USA

“Image, Line and Movement in Inca Tapestry” (POSTER)

In this analysis of Inca tapestry, I examine the use of image, line, color, and spatial organization to create curves and visual movement, and I connect textiles to other Inca arts, including figural representations that predate and postdate European influences. This approach challenges the more common association of line with rigidity along with the tendency to view Inca art as primarily rectilinear.

Arabel FERNANDEZ LÓPEZ* & France-Éliane DUMAIS** *Complejo arqueológico El Brujo (Perú); **Centre de Conservation du Québec, Montréal (Canada)

“Textiles from an elite burial in San Juanito, a preceramic site in the Santa valley, North Coast of Peru”

During archaeological field seasons 2005-2006, the Santa project of the Montreal University discovered a decorated temple dating from about 1800-1600 BC. The site is located in San Juanito, in the lower Santa valley, north coast of Peru. Many funeral contexts were recorded inside the temple, one of those correspond to an important person in the San Juanito society. This tomb has belonged to an old woman who’s the body was wrapped with a complex bundle composed with numerous textiles and offerings that reflect the elevated status of this person. Among the offerings of this elite burial, a variety of decorated and undecorated textiles was found and also a very special headdress made with textiles, wicks of human hair and jaguar hair. A technical-structural analysis work has been done on textiles of this burial. Our presentation will focus on the disclosure of these exceptional textiles that also inform us about the technological development achieved by this time.

Soledad HOCES DE LA GUARDIA CH.* & Ana-María Teresa ROJAS Z.** *Escuela de Diseño, Pontificia Universidad Católica de Chile (Santiago), **Escuela de Artes Aplicadas y Oficios, Santiago, Chile

“Inca nobility women clothing. Textile grave goods from Cerro Esmeralda burial and their relations with textiles from miniature statuettes”

The Museo Regional of Iquique, in the north of Chile, holds a patrimony of extraordinary value: the offering grave goods from a Qapaq Hucha ceremony, an extremely important ritual in the Tawantinsuyu or Inca Empire, carried out approximately between the years 1399 and 1475 AD. This discovery, that occurred in 1974, revealed two female bodies and a group of more than 100 objects of which more than 50% are textiles. This sacrificial site has the particularity of being at a low altitude (905 meters above sea level); it is also the only so far in which the bodies were dressed up with the feminine garments that refer exactly to the clothing used by standardized miniature figurines that accompany the several elevated burial grounds that have been recovered in the Andes. This

9 extraordinary textile group has only similar models in textiles found in clothing related to women sacrificed in the Pachacamac sanctuary in Peru. Recent research made for their display has allowed us to seek new records and comparative studies among the garments in real scale and their miniature similes. This work presents the progress made in this comparative study that considers material, technical and formal aspects in relation to the composition, the color and the iconography of the textile garments that respect strict patterns established by the Inca State.

Dimitri KARADIMAS Centre National de la Recherche Scientifique – Laboratoire d’Anthropologie Sociale, Paris

“Monkeys, Wasps and Gods: Iconography on Chimú, Wari and Chancay funerary painted textiles”

Under the cover of an apparent iconographic heterogeneity, Pre-Columbian Andean painted textiles often present a common narrative structure that we analyse in our presentation. Between the so-called ‘Staff God’, monkeys, felines and bird figures, Pre-Columbian societies commonly used thematic iconographic variation to singularize each of their artworks made from woven yarns, on which they simply painted those characters and figures. The scenes represented on these compositions were inspired from mythological references that evoke the journey that the deceased had to undergo to access immortality. Others have already undertaken this journey, as major celestial bodies that had entered in rivalry with their allies the stars into celestial battles, to achieve immortality. They can still be seen today in their alternate diurnal and nocturnal presence. We propose to give homogeneity to these variations by an iconographical analysis done thanks to mythology recorded in contemporary cultures from the Andean lowlands in which this celestial antagonism is expressed. This interpretation brings a new light on why this imagery occurs on mortuary material produced from Pre-Hispanic Andean societies.

Heidi KING The Metropolitan Museum of Art, New York

“Ancient Peruvian Featherworks: What their Techniques, Iconography and the Archaeological Record Reveal” Textiles and other objects covered with feathers are seldom found by archaeologists and little attention has been awarded to them in the scholarly literature; misinformation about this rare art form is, however, widespread. This paper, resulting from my research for the recently published book Peruvian Featherworks – Art of the Precolumbian Era, presents a summary of what is currently known about Peruvian feather working based on controlled excavations, considerations of iconography and the study of feather working techniques. Among my findings is that use of feathers for ritual purposes is archaeologically documented in Peru as early as the third millennium BC at several coastal sites; feathered textiles and objects are rare between 500 BC and 1000 AD, but increase after about 1000 AD suggesting that most surviving featherworks were made between 1000 and 1532; attribution and dating of many feather pieces to the Nasca or Nasca/Wari as often found in the literature, is questionable; my research also showed that featherworks which had a several-thousand year long history in

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Peru, were rarely made during the colonial period either for the church or European patrons; in Mexico, by contrast, where featherworking was also a highly developed craft in ancient times, feathers continued to be used in Christian art until the early nineteenth century. Many of the illustrations used to support my arguments are of objects in museum storerooms rarely or not published before.

María Ysabel MEDINA CASTRO Museo Nacional de Arqueología, Antropología, e Historia del Perú, Lima, Peru

“Function and textile technology of the contexts of the 5th Cavern of Cerro Colorado, Paracas Peninsula ”

Since the discovery of the Paracas culture, diverse excavations were conducted by Dr. Julio C. Tello, who initiated studies to recover precise scientific, anthropologic, social, political and religious information, seeking to better understand the importance of this culture’s development inside the social context of Andean culture. The Cavernas phase was recognized as the initial phase of Paracas. The related site was explored between 1925 and 1930 and according to the records of Dr. Tello and Mejía Xesspe, the 5th Cavern of the Second Terrace of Cerro Colorado was the most important in terms of content. Recovering the context and the analysis of this material on the basis of a technical evaluation of the objects, will allow us to obtain a better perception of this early stage of the Paracas society. Paracas Cavernas people created their own ceramic, textile, lithic and metallurgical technologies, among others; objects were elaborated with domestic, social, religious or ritual significations; each one of them provides evidence of a highly organized society, with a good management of the distribution of its specialized activities, which reflected through each of its members or family units and contributing to a traditional legacy that may have been generational. If we consider the textile technology we see this legacy from this early phase to the following Necropolis phase, not only through the functionality of textiles but also through technology and iconography.

María MONTOYA VERA Monumenta Andina SAC, Trujillo, Perú

“Textile bundles, Chimu Burial Nº 7 of Huaca de la Luna (Moche Valley, Northern Coast of Peru)” (POSTER)

The Huaca de la Luna ceremonial center has been excavated and studied from 1991 by archaeologists mainly from Universidad Nacional de Trujillo, Peru. In 1995, the Chimu burial Nº 7 was discovered in Platform 1, containing the body of a child associated with dozens of offerings such as Spondylus valves, Conus snail shells, animal bones, metallic objects, textiles, etc. Among the recovered textiles, there were some very particular ones due to their shapes and contents, that we called “textile bundles”. 33 of them contained a number of Nectandra sp. seeds (exactly 8944), four contained Ormosia sp. seeds and ten contained several Nectandra sp. calix specimens. The textile pieces were made with one or two rectangular plain white or brown cotton fabrics, 2x1, measuring from 42 to 48 cm wide and 84 to 110 cm long. Some fabrics showed staggered designs (on their four corners) shaped with weft-faced technique,

11 whose outline or edge colors were either red, light brown, dark green, blue or yellow, and showing inside either black, red or dark brown rhomboidal designs. Phytochemical and hair analysis granted signs of Nectandra sp. as death cause, which suggests that the child itself could be viewed as an offering and not as an elite member as formerly stated. Furthermore, it is interesting to consider that some burial textile remains believed to be headdresses may instead be parts or whole textile bundles, suggesting to reevaluate such findings.

Christophe MOULHERAT Musée du quai Branly, Paris

“The scientific analysis of archaeological fibres from Peru. The example of South-American camelid fibres”

The study of camelid fibres from Peru (lama, alpaca, vicuña, guanaco) was the subject of a number of intents for characterization. On the basis of this previous work and with new tools for research, we propose a new protocol for distinguishing the fibers of the different camelid species. The protocol draws on the combined use of optic microscopy (2D and 3D) and Scanning electron microscope (SEM), and takes as reference fibers from actual species. The survey focuses on archaeological fibers available from Paracas and Nasca style textiles coming from the south coast of Peru and preserved in the collections of the musée du quai Branly and the British Museum. This work contributes in a more general way to research on Andean populations, such as the study of Andean pastoralism and the camelid domestication and economic exchange systems.

Katalin NAGY Freie Universität & Ethnologisches Museum, Berlin

“The Use and Roles of Colours: Comparison of Design and Iconography of some Objects of the Ica Culture” (POSTER)

During the last years some groups of Ica style textile objects of the Late Intermediate Period in the collection of the Ethnologisches Museum Berlin have been investigated. As the investigation on these textile objects has made progress, the knowledge about the designs of the textiles was also growing. The investigation focuses on the material and technique as well as on the iconography and included the textiles, as well as feather objects, ceramics and wooden objects. . The fact that the ceramics bowls and cups of the Ica culture were decorated with designs similar to the textiles is well known. The aim of this poster is the presentation of some groups of objects that were part of this study, with particular emphasis on the analysis of their design and iconography, looking at the different materials, forms and techniques as well as colour.

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Juan Camilo NIÑO VARGAS École des Hautes Études en Sciences Sociales – Laboratoire d’Anthropologie Sociale, Paris/ Universidad de los Andes, Bogotá, Colombie

“The rods of the hammock, the supports of the universe” (POSTER)

The Ette, a Chibchan-speaking group of northern Colombia, introduce a rod made of hardwood through the loops at the ends of their twined hammocks, replacing the ropes typically used to hang a hammock. This rare and ingenious device can be easily passed through the loop of ropes previously hung so that no knots are needed and the hammock can be installed or taken down very quickly. However, the use of the rod cannot be explained simply as a technical advantage. They share their design with other artifacts used to hold objects such as ceremonial clubs and maracas handles. The ropes which they hang from are compared to the ancestors entrusted with the task of supporting the sky. Furthermore, due to the way the hammock loops are bunched together, the hammock acquires a concave shape related to a particular class of objects used for containing human beings. Among these objects are wooden stools, baby carriers and, at a cosmic level, the Earth. The hammock, as a human space, shares the same structure as the Earth, space of humanity.

Christel PESME Textile conservator, Basel, Switzerland

“Color Change and Setting a Preservation Target for Items on Display” (POSTER)

Preservation Target (PT) is a key concept for any lighting strategy: it delimits what are the conditions, in a given period of time, which are optimizing the value of a collection item. For lighting policy, the PT is expressed in terms of maximum tolerated color change of the item on display. Setting a PT supposes to define three constitutive aspects: how to relate value of the item on display and its color rendering; how to connect color change and loss of value; how to evaluate the light sensitivity of the item on display. Color changes can be induced either by a change in the material properties of the item or by a change in the lighting conditions. The use of Microfadotester will be presented showing how to assess light sensitivity of the item on display. The impact of the light source selection on the color rendering of the item will also be presented.

Ann H. PETERS University of Pennsylvania Museum of Archaeology and Anthropology, Philadelphia

“Mapping Color Messages Among the Paracas Necropolis Gravelots”

Emblematic and esoteric uses of color combinations have been proposed for Paracas Necropolis textiles since the work of Carrión (1930). Several scholars have traced patterns of color variation among the figures repeated on large mantles (Stafford 1941; Paul 1998, 2000, 2008). While this type of analysis can be carried out on artifacts without archaeological provenience, different implications arise when color analysis is related to the distribution of artifacts and design features among known gravelots. Following on an earlier effort presented at a Sainsbury workshop (2007), I seek to honor and build upon my colleagues’ previous work by tracing the combination of large-scale color fields that communicate at great

13 distance, and considering the interplay between the highly visible contrasts of background fields, the layers of patterned variability perceived upon approach, and the more intimate messages of texture, interlace structure, and yarn structure. Based on a larger sample of 160 gravelots and better contextual information available today – due in no small part to Anne Paul’s documentation initiatives – I have been able to define new style groups and subdivisions of the Linear, Broad Line and Block Color styles. I compare patterns characteristic of different garment types to determine whether mantles played a unique semiotic role, and their relationship to garment sets with ‘matching’ color, layout, image style and iconography. Certain garment types demonstrate a fundamentally different pattern. The distribution of color schemes among more fully documented burials of 40 men and women is analyzed in order to evaluate emblematic and esoteric uses of color in relationship to social roles and exchange relationships, expressed in mortuary ritual.

Elena PHIPPS The Metropolitan Museum of Art, New York & The Textile Society of America, USA

“Color in the Andes”

Color in the Andes examines the materials and methods of dyes and color in Andean textile traditions. The paper will discuss past and current research on the subject of color and dyes, as well as identification of future directions. The question this research brings to the forefront is not only the state of knowledge about dyes and colorants from the region, but also the meaning of color in the context of local textile and cultural traditions. Drawing on archaeological and cultural perspectives as well as scientific analysis, the paper will provide an integrated view of the material and materiality of color in the Andes.

Ann P. ROWE The Textile Museum, Washington, D.C., USA

“The Linear Mode of the Peruvian south coast Revisited”

Although there are obvious design relationships between the linear-mode patterned textiles from Ocucaje, Paracas, and Nasca, the techniques used to make them have some interesting variations, which help to illuminate the cultural interactions that produced these pieces. The analysis focuses on examples from the collection of the Textile Museum in Washington, many of which are previously unpublished. An evaluation of the variations (which include color schemes) from the point of view not only of their geographic origin but also of the chronology and settlement patterns, provides some interpretive insights on this complex but fascinating period.

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Viviana SIVERONI University College, London United Kingdom

“Domestic textile production in the Late Prehispanic period of the Nasca area: A view from Huayuri, Palpa”

The Nasca area is the place of origin of innumerable archaeological examples that show the level of technical skill achieved by Pre-Hispanic weavers. Although we now know much about the techniques involved in the manufacture of these items, particularly those dated to earlier periods, little is known about the way their production was organized. If our knowledge of the production of fine textiles is limited, we know nearly nothing about the production and distribution of common utilitarian textiles, and the role they played in the domestic economies of these people. This paper aims to contribute with information on domestic textile production for the Late Pre-Hispanic occupation of the Nazca region (1100- 1470 AD/1470-1532 AD). Based on materials recovered from archaeological excavations at Huayuri, a Late Pre-Hispanic settlement located in the northern part of the Rio Grande de Nazca Drainage (Ica, Peru), I attempt to reconstruct the chain of textile production within the domestic unit. This step will be primarily based on production tools and debris, along with a sample of textile fragments recovered from the excavation of three neighbouring residential units. The aim is to understand the role of individual household in the overall production. The second objective is to assess the degree of intensification of textile production. Finally, I discuss the possible scenarios within which this intensification could have developed.

Victòria SOLANILLA DEMESTRE & Miriam DE DIEGO Departamento de Arte, Universitat Autònoma de Barcelona

“Human figures on Andean textiles. Civil, political or religious elite?”

Our research focuses on the study of the Tiwanaku textiles’ iconography and its area of influence. Originated in the Bolivian plateau, this culture reached its climax in the 5th century, during the Middle Horizon (400-1000 AD), and expanded its influence towards the north of Chile and the south of Peru in the 5th-12th centuries, when it disappeared. There have been numerous studies that have interpreted Tiwanaku images as mythological, calendrical and ritual representations; and explained Tiwanaku expansion as economical. However, we return as a starting point to the approach of Berenguer (1998), who proposed the study of Tiwanaku iconography from a political perspective. This may help us understand the political and social structure, expansion and political and ideological legitimacy. To do this, we will review the literature and analyse the iconography of Tiwanaku textiles, focusing on the identification of human figures and their attributes, examining their orientation and symmetry, and possibly comparing them with images made in other materials. This research seeks an approach to the study of Tiwanaku iconography, and will specifically attempt to answer whether its figures embody the political, military and/or religious elite.

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Maya STANFIELD-MAZZI University of Florida, Gainesville, USA

“Crossed Perspectives on Color in the Colonial Andean Church: Liturgical Tapestries”

This paper will discuss colonial Peruvian liturgical textiles, especially finely woven cumbi tapestries of the early colonial period, in relation to the use of color. It will consider how Andean weavers responded to the demands of their priestly patrons by creating works that corresponded to the Catholic calendar. It will take into account the colors already widely used by Andean weavers and those appropriate for ritual textiles. It will also examine the possibility of other, less common, colors being introduced into weavers’ (and dyers’) repertoires based on church requests. Tapestry weavers will thus be shown to have been creative agents of colonial culture, whose works contributed to Catholic visual culture in the early colonial period.

Rebecca SUMMEROUR*, Jennifer GIACCAI**, Keats WEBB**, Chika MORI*** & Nicole LITTLE** *National Museum of the American Indian, Suitland, USA; **Conservation Scientist at the Museum Conservation Institute, Smithsonian Institution (Washington, D.C.); ***Museum Conservation Institute, Smithsonian Institution (Washington, D.C.)

“The Technical Analysis of Four Archaeological Andean Painted Textiles” (POSTER)

This project investigates the materials and manufacturing techniques used to create four painted archaeological Andean textiles in the collection of the Smithsonian Institution National Museum of the American Indian. The research is part of an Andrew W. Mellon Fellowship in Textile Conservation. The textiles are attributed to Peru and have minimal provenience; consultations with several scholars of pre-Columbian textiles may contribute to a better understanding of the origins and collection histories of the textiles. Building on previous work on similar archaeological textiles by other scholars, the materials and manufacturing techniques are being identified and characterized by observation, documentation, and scientific analysis. Several analytical techniques are used to identify the materials, with emphasis on distinguishing between organic and inorganic colorants. Non- invasive analytical techniques include X-ray fluorescence and fiber optics reflectance spectroscopy, as well as ultraviolet and infrared imaging techniques. Colorants and binding materials on detached fragments are being analyzed with Fourier transform infrared spectroscopy, micro X-ray diffraction, and high performance liquid-chromatography-mass spectrometry.

Marta TUROK W. Instituto Nacional de Bellas Artes y Literatura, Mexico City

“The jaspe (ikat) rebozo from Mexico: between extinction and innovation”

The jaspe (ikat) rebozo and the sarape, two emblematic garments that developed between the 17th and 18th centuries and are tied to Mexican identity, whose tradition of production and use are in danger for various reasons. In this paper we will give an historic overview of the emergence of the rebozo, its development and the current situation. Of dozens of producing

16 communities mentioned in 19th and 20th century sources, only eight remain productive, and among them two communities are represented by only one elderly person, with the majority of the others represented by a generation of over 50 years old. The generation gaps are broadening, not only for producers, but also for consumers. We will describe the production, structure and the changing markets, including a couple of examples of producers who have placed themselves in very high consumer market niches. On the other hand, we will also describe various efforts made by public and private entities to promote and diffuse innovative strategies among young designers and traditional producers as a means of survival. Some include the re-introduction of natural dyes, other experimentation with ikat design or the development of products using rebozo cloth as a base.

Alejandra VACA P. Anthropologist, La Paz, Bolivia

“Color must not be taken for granted”

The intensity and brightness of colors, of the blue sky, the phosphorescent greens and yellows of the clothing of the community inhabitants contrasting from the brown hues of the mountainous landscape, sharpen the senses and open the sight towards different aesthetics. The present research offers to perform together a journey through the analysis of three textiles, which belong to a whole range of pieces present in the community, at the same place and time. The first category is represented by “Grandmothers’ Textile”, the second by the “Fashion Textile”, and the last by the “Commercial textile”. The purpose is to examine the aesthetics that guide the choice of color, its function and its location throughout the design, categories that show the constant interaction between the traditional and the modern. Finally, this research will show the history of the influences on the color palette of the various textiles present in the community of Japo, Tapacarí province, Cochabamba, Bolivia. It seeks to generate new interpretational guidelines and comprehension for anthropology, from the recognition of the capacity for renewal and change of artistic expression in textile production. Such a process helps ensure identity through the elaboration of new creations adapted to current needs, and expresses through them the reality of a new history.

Cristina VIDAL LORENZO*, Mª Luisa VÁZQUEZ DE ÁGREDOS*, Patricia HORCAJADA CAMPOS* & Linda R. MANZANILLA NAIM** *Universidad de Valencia, Spain, ** UNAM, Mexico

“Shrouds of pigments and offerings, and other uses of textiles in Mesoamerica”

Much of the material remains unearthed during archaeological investigations of the ancient Mesoamerican cultures were originally deposited wrapped in various textiles. Few have survived until the present day as a result of the deterioration caused by different climate- related and microbiological agents that are highly detrimental to the conservation of organic material. However, archaeometric studies recently carried out on discs and large spheres of pigment left as funeral offerings in various tombs in the centre of the Teopancazco district and in the Oztoyahualco residential compound in Teotihuacan, as well in skeletal remains and other offerings in the Maya area, have helped to identify the presence of textiles and, in some cases, the nature of the fibres of these wrappings. A comparison between these analytical results and ethnohistorical and ethnographical sources will be examined.

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