ANDEAN PRE-HISPANIC TEXTILES

HISTORY OF TEXTILES THROUGH TIME

 HISTORY OF TEXTILES THROUGH TIME

The first pre-Hispanic weavings

date back to 8,000 years B.C., and originate
as blankets
originated as blankets
made from vegetable fibers such as reed,
totora
from vegetable fibers such as reed, totora or
agave and were used to cover the precarious
the precarious dwellings built by hunter-
gatherer
by the hunter-gatherer societies of those
times.
 HISTORY OF TEXTILES THROUGH TIME

Subsequently, with the

domestication of camelids,
cotton and the appearance of the loom,
approximately 3000 years
B.C., weavings acquired a higher
connotation superior to domestic
domestic needs, being the bearers of
religious and sumptuary connotations,
reaching religious and sumptuary
connotations, reaching its maximum splendor
during the Inca
Inca period where it was considered one of the
considered one of the most valuable elements
of tribute
greatest value.
HISTORY OF TEXTILES - PRECERAMIC
HISTORY OF TEXTILES - PRECERAMIC

Cotton fabric that

had the representation
of a sacred condor
with a snake
coiled on its belly.

 HISTORY OF TEXTILES - PRECERAMIC

The appearance or origin of Peruvian
Peruvian textiles arose in this
period with the manufacture of the
first
the first "fabrics" elaborated in the
"pretellar" technique, i.e.
in "pretellar" technique, that is to
say,
only with the skill of the hands.
hands.
Of these techniques, the most
important
most important were the
interlacing, banding and Composite motif representing a
knotting, with which bags, rugs bird with a snake in the center
bags, rugs and cloths, found at Huaca Prieta
wipes.

 ANDEAN PRE-HISPANIC TEXTILES

Gold crown, with
embossed embossed,
giving complex Chavín
designs Chavín designs

-Braids
- Pectoral
- Gold Bracelet

Cotton and wool tunic

with Chavín patterns.
Laminated gold anklet

 FORMATIVE PERIOD - CHAVÍN

The people of Chavín probably originated
were originally from the jungle regions, since they
used they used a lot of jungle iconography
such as the figure of the jaguar, caiman and
anaconda

THE LADY WITH LONG HAIR

Her hair measures two meters and ten

centimeters, perhaps a sign of her vanity,
She was a weaver, an elite occupation
of the elite in her culture who lived
approximately in the years 900 A.D.

The archaeological site of Chavín de Huántar was built around 900

B.C. and was the religious built around 900 B.C. and was the
religious center of the Chavin people.
 FORMATIVE PERIOD - CHAVÍN

KARWA weaving - Weaving became an

activity of great demand whose boom
was due to the use of camelid hair and
the discovery of the loom, which allowed
for greater complexity in textile
techniques and speed in weaving.

At the site of Karwa, weavings appear with anthropomorphic representations, holding staffs
ending in serpentiform heads.
 FORMATIVE PERIOD - CHAVÍN

Fragment of cotton fabric

KARWA
Culture: Chavín
Dates: 1200 B.C. - 200 B.C.
Type: Funerary Ceremonial Artistic
Technique: Cotton thread with
vegetable or mineral dyes

At the site of Karwa, weavings appear with anthropomorphic representations, holding staffs
ending in serpentiform heads.
 FORMATIVE PERIOD - CHAVÍN

The iconography of feline

anthropomorphic figures is
an important characteristic
of the Chavín civilization.
All these deities are
represented in different
cultural manifestations such
as ceramics, metal artifacts,
textiles and architectural
sculptures.
 FORMATIVE PERIOD - CHAVÍN

The function of the Chavin textiles is still

uncertain, but it is most likely that they
served as mortuary wrappings. But what
is clear, is the inventions or innovations
such as: Use of camelid hair with cotton.
Use of supplementary discontinuous
wefts.
Dyeing of camelid hair.
Negative or reserve painting technique
(Batik).
Most of them are made with cotton
thread, in fabric technique.
 FORMATIVE PERIOD - CHAVÍN

Although all these textiles are stylistically

and iconographically similar, their
manufacturing technology is not, which
presumes they do not have the same
origin, but the common denominator is
that they are loosely woven cotton.
Predominant color is brown, occasionally
red or orange, brownish purple, olive
green or turquoise.
 FORMATIVE PERIOD - CHAVÍN

Its iconography; has as its most common

motif the male and female Staff deity,
given in various degrees of conservation.
The supernatural alligator, felines and
birds very similar to the guardian birds
carved in the temples.
Hallucinogenic cactus (San Pedro), cotton
seems to have had a supernatural
connotation.
 FORMATIVE PERIOD - CHAVÍN

Apparently the textiles functioned in a

hieratic way within the culture, they
could have been wall tapestries or
wrappings for mummies.
According to the structural analysis, two
methods of yarn production were used,
yarns, S and Z twist
ANDEAN PRE-HISPANIC TEXTILES
 FORMATIVE PERIOD - PARACAS

Towards the end of the Upper

Formative period (500 B.C. Approx.), an
extraordinary culture flourished in the
PARACAS peninsula, for its great
contribution to the great Peruvian
textile tradition.
Materials discovered
from the caves of Cerro Colorado,
contain fabrics and garments such as:
Llautos, cloaks, cloaks, slaves, sashes,
ribbons, skirts, slings, ornaments for
personal use.
 FORMATIVE PERIOD - PARACAS
Towards the end of the Upper Formative period (500 B.C. Approx.), an
extraordinary culture flourished in the PARACAS peninsula, for its
great contribution to the great Peruvian textile tradition.
Materials discovered
from the caves of Cerro Colorado, contain fabrics and garments such
as: Llautos, cloaks, cloaks, slaves, sashes, ribbons, skirts, slings,
ornaments for personal use.
FORMATIVE PERIOD - PARACAS

It is important to note that these

textiles are consistently associated
with the power circles of the
Paracas. Important rulers owned a
large number of fine textiles during
their lifetime and were buried with
them.
 FORMATIVE PERIOD - PARACAS

The pigments used to give color to their fabrics,

have mostly fine clay powder, this in turn is
dyed with organic pigments, colors mostly used
are green, yellow, black and red.
FORMATIVE PERIOD - PARACAS
FORMATIVE PERIOD - PARACAS

The technique of making elastic

textiles. Very similar in appearance
to the net, it is constructed using
only the warp, without weft, a
single thread, e.g. fishing nets, flat
fabrics like tapestry with
decorative-symbolic elements. All
in cotton and camelid fibers,
human hair was also found,
although only in a complementary
way, and vegetable fibers.
FORMATIVE PERIOD - PARACAS
FORMATIVE PERIOD - PARACAS
ANDEAN PRE-HISPANIC TEXTILES
 EARLY INTERMEDIATE - MOCHE

The Mochica culture, also called Moche culture, is a pre-Columbian culture that extended along
the northern coast of Peru, approximately between 100 AD to 700 AD.
They were contemporary to the Nazca culture that occupied the southern coast of Peru.
 EARLY INTERMEDIATE - MOCHE
The Mochica textiles were mainly
made of cotton and, to a lesser
extent, camelid fibers. Cotton was
used in natural colors.

Wool was used for more elaborate elements

such as tapestry and supplementary wefts, in
a great variety of their weavings.
 EARLY INTERMEDIATE - MOCHE

The Mochica textiles were Cotton was generally

mainly made of cotton and,
to a lesser extent, camelid
fibers. Cotton was used in
natural colors.
simple and in S, regular use for
the elaboration of nets and
cordage. While camelid yarns
were always
in Z
 EARLY INTERMEDIATE - MOCHE

Bag decorated
with figures of Bag with bangs
stylized formed by a single
geometric piece joined at the
characters and ends with surjete
birds. Handle stitch.
with geometric Anthropomorphic
decoration. and fish design
Internal fabric
lining on the
upper edge.
 EARLY INTERMEDIATE - MOCHE

The beheader god, anthropomorphic

feline-human being

zz
ANDEAN PRE-HISPANIC TEXTILES

NAZCA
 EARLY INTERMEDIATE - NAZCA

This style, spanning more than 6

centuries, is extraordinary, decorated
with colorful images that reflect their
interests and beliefs.
 EARLY INTERMEDIATE - NAZCA

Ordinary clothing, made

predominantly of cotton (blankets,
tunics, head cloths, loincloths,
belts). Simple and resistant fabrics,
three or four colors. A gradual
transition from the Paracas style is
noticeable.
 EARLY INTERMEDIATE - NAZCA

Magnificently ornamented textiles, apparently

of high status.
Facial ornaments worn by many figures include
full-face mask, nose ring with whiskers - there
are also in beaten gold
 EARLY INTERMEDIATE - NAZCA
In the heyday of Nazca textile art, radical
changes in design, composition and
technique were observed, with an emphasis
on iconography with complex stylized
images.
 EARLY INTERMEDIATE - NAZCA

In the heyday of Nazca textile art, radical changes in

design, composition and technique were observed, with
an emphasis on iconography with complex stylized
images.
 EARLY INTERMEDIATE - NAZCA

Polychromatic headband with support on the inner side, with stylized designs

Sash, two ends joined with multiple warp and weft weave, one part striped, the rest with
6 designs in rectangles of alternating characters and snakes.
EARLY INTERMEDIATE - NAZCA
Plumary art, from the earliest times, was
associated with clothing and utensils such
as fans, tapestries and headdress
ornaments.
ANDEAN PRE-HISPANIC TEXTILES
 LATE INTERMEDIATE - CHANCAY

In the central coast, the Chancay

Culture stands out for its beautiful
and delicate fabrics, with three groups
according to their nature: The gauzes:
are reticular fabrics manufactured in
cotton.
The painted fabrics: Directly painted
zoomorphic, anthropomorphic,
geometric, etc. designs. The dolls and
three-dimensional objects: vegetable
fiber on which it was completely
covered with threads and scraps of
various fabrics.
 LATE INTERMEDIATE - CHANCAY

In terms of decoration, they applied

a wide range of colors, figures of
fish, birds or anthropomorphic and
geometric designs. The tapestries
or mantles with a great variety of
figures painted with brushes and
embroidered lace at the ends were
outstanding.
According to the beliefs, the
threads, called lloque, were
impregnated with supernatural
powers.
 LATE INTERMEDIATE - CHANCAY

In terms of decoration, they applied

a wide range of colors, figures of
fish, birds or anthropomorphic and
geometric designs. The tapestries
or mantles with a great variety of
figures painted with brushes and
embroidered lace at the ends were
outstanding.
According to the beliefs, the
threads, called lloque, were
impregnated with supernatural
powers.
 LATE INTERMEDIATE - CHANCAY

The ancient human groups of the

Chancay society, had millenary
knowledge about the origin of
vegetable and animal fibers, cotton
of various colors; dye pigments.
Thus they evolved their art from
the simplest cloaks to the most
complex and delicate clothing.
LATE INTERMEDIATE - CHANCAY

PAINTED FABRICS
LATE INTERMEDIATE - CHANCAY

ENCHANTED LACE
LATE INTERMEDIATE - CHANCAY

THREE-DIMENSIONAL FABRIC
ANDEAN PRE-HISPANIC TEXTILES
 LATE INTERMEDIATE - CHIMÚ

These textiles are similar to the

Chimú genre; the direction of the
yarn spinning is in S; with the
exception of weft yarns to be used
in conjunction with camelid hair
yarns which are in Z-2S.
They are also characterized by the
incorporation of a greater variety of
colors.
 LATE INTERMEDIATE - CHIMÚ

Fragmented band with painted decoration of

anthropomorphic designs (character with staff).
Zoomorphic and geometric designs (spirals,
rectangles), staggered in dark brown on brown
background.
 LATE INTERMEDIATE - CHIMÚ

The Chimor Kingdom, with its

ruler Minchancaman, wore
plumarios, although it may
seem that some of them are
from the colonial period due to
their religious iconography.
 LATE INTERMEDIATE - CHIMÚ

Extensive use is made of

fringed bands. Most of the
preserved whole garments are
identified as being of the high
hierarchy. Most of these
clothes are composed of tunics,
loincloths and a very long band
used as a headdress or turban.
 LATE INTERMEDIATE - CHIMÚ

Two fragmented sandal insoles, both have

fragments of fabric on the edges. With different
sizes. Technique: TRAPPING
ANDEAN PRE-HISPANIC TEXTILES
 LATE HORIZON - INCA

It can be stated that the Inca

Empire was founded
approximately in 1200 A.D. At
this time, the presence of pre-
Inca tribes settled in Cuzco and
the surrounding area.
LATE HORIZON - INCA
LATE HORIZON - INCA
LATE HORIZON - INCA
 LATE HORIZON - INCA

The Incas increased textile production

textile production by developing and
imposing a textile mita, which obliged
them to weave for the State.
- Weaving in the Inca Empire had an
economic, ritual and social
importance.
- The quality and ornamentation of the
textiles that a person possessed
indicated their importance in society.
ANDEAN PRE-HISPANIC TEXTILES

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