["itemContainer",{"xmlns:xsi":"http://www.w3.org/2001/XMLSchema-instance","xsi:schemaLocation":"http://omeka.org/schemas/omeka-xml/v5 http://omeka.org/schemas/omeka-xml/v5/omeka-xml-5-0.xsd","uri":"http://threads-of-time.carlos.emory.edu/items/browse?collection=1&%3Boutput=json&output=omeka-json","accessDate":"2024-03-29T07:52:30+00:00"},["miscellaneousContainer",["pagination",["pageNumber","1"],["perPage","10"],["totalResults","35"]]],["item",{"itemId":"102","public":"1","featured":"0"},["fileContainer",["file",{"fileId":"481","order":"1"},["src","http://threads-of-time.carlos.emory.edu/files/original/47861c83e41f08a899df30e27db7505f.jpg"],["authentication","2ddfb6f9e838f65563ca1e7cabe270e5"]],["file",{"fileId":"170","order":"2"},["src","http://threads-of-time.carlos.emory.edu/files/original/a5a636a2a151602ad69ac4498dac3595.jpg"],["authentication","ec9d8742fb3b4de81c047568b08d11f1"]],["file",{"fileId":"260","order":"3"},["src","http://threads-of-time.carlos.emory.edu/files/original/122a9dd5bb0e197c65bbaa023a3b7d2a.jpg"],["authentication","e0716abe065fd498da8d1bd9666eebeb"]],["file",{"fileId":"169","order":"4"},["src","http://threads-of-time.carlos.emory.edu/files/original/fd842a946bebf96f15ac903d464fd54a.jpg"],["authentication","6640fa1384c38cbfc4cefff640d7ebe7"]],["file",{"fileId":"167","order":"5"},["src","http://threads-of-time.carlos.emory.edu/files/original/7093121749ee7f7b90f88bb37aefe604.jpg"],["authentication","b8ea8dbb3c8087a6d59ecec382ba429f"]],["file",{"fileId":"168","order":"6"},["src","http://threads-of-time.carlos.emory.edu/files/original/410d1bd85ad63d5a94de1daa59fd8752.jpg"],["authentication","fe464b1d9971fe2eb8de42fe4e20dd5b"]],["file",{"fileId":"333","order":"7"},["src","http://threads-of-time.carlos.emory.edu/files/original/9bf9f3a8c541fbd1ec73ef7a6c9e1bec.jpg"],["authentication","2dbe814e32f6a2fe4d9fac03e4e7405c"],["elementSetContainer",["elementSet",{"elementSetId":"1"},["name","Dublin Core"],["description","The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/."],["elementContainer",["element",{"elementId":"41"},["name","Description"],["description","An account of the resource"],["elementTextContainer",["elementText",{"elementTextId":"1338"},["text","Prior to treatment, the many fragments of the doublecloth fragments were stored in archival boxes."]]]],["element",{"elementId":"48"},["name","Source"],["description","A related resource from which the described resource is derived"],["elementTextContainer",["elementText",{"elementTextId":"1339"},["text","Photo courtesy of Renée Stein"]]]]]]]],["file",{"fileId":"334","order":"8"},["src","http://threads-of-time.carlos.emory.edu/files/original/7dd22b283f61df01fdac952a22b4c1e9.jpg"],["authentication","25a1fdf22e4037d460bde3425b687896"],["elementSetContainer",["elementSet",{"elementSetId":"1"},["name","Dublin Core"],["description","The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/."],["elementContainer",["element",{"elementId":"48"},["name","Source"],["description","A related resource from which the described resource is derived"],["elementTextContainer",["elementText",{"elementTextId":"1341"},["text","Photo courtesy of Renée Stein"]]]],["element",{"elementId":"49"},["name","Subject"],["description","The topic of the resource"],["elementTextContainer",["elementText",{"elementTextId":"1717"},["text","Before bathing, the water-sensitivity of dyes in doublecloth were tested. "]]]]]]]],["file",{"fileId":"452","order":"9"},["src","http://threads-of-time.carlos.emory.edu/files/original/a91a9e98e134dea3d599e724daef18eb.wav"],["authentication","d5092c5461ada7cb8db97a494b7495bd"],["elementSetContainer",["elementSet",{"elementSetId":"1"},["name","Dublin Core"],["description","The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/."],["elementContainer",["element",{"elementId":"50"},["name","Title"],["description","A name given to the resource"],["elementTextContainer",["elementText",{"elementTextId":"1685"},["text","ayni"]]]]]]]]],["collection",{"collectionId":"1"},["elementSetContainer",["elementSet",{"elementSetId":"1"},["name","Dublin Core"],["description","The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. 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C. Clay and Virginia Aldridge"]]]],["element",{"elementId":"56"},["name","Accession Number"],["description"],["elementTextContainer",["elementText",{"elementTextId":"799"},["text","2002.1.37A/B"]]]],["element",{"elementId":"57"},["name","Exhibition Checklist Number"],["description","This number will sort the collections."],["elementTextContainer",["elementText",{"elementTextId":"800"},["text","312"]]]],["element",{"elementId":"61"},["name","Technical Notes"],["description","Related notes on the object's conservation and treatment by Michael C. Carlos Museum objects conservator Renée Stein."],["elementTextContainer",["elementText",{"elementTextId":"1337"},["text","
During burial, perhaps in contact with decaying organic material, this doublecloth textile broke into many fragments, with some large areas of loss. The 11 surviving fragments were carefully cleaned to remove accumulated dirt and grime. Each fragment was gently vacuumed using a low suction High Efficiency Particulate (HEPA) filter vacuum. After confirming the dyes were not water-sensitive, the fragments were repeatedly bathed to remove acidic dirt and deterioration products. A surfactant (anionic detergent) was added to the bath water to help lift dirt off of the fibers and into the water to be washed away. Removing the embedded dirt improved the overall appearance, considerably brightening white threads and lightening dark stains. With repeated rinsing, the textile returned to a more neutral pH, which will promote its long-term preservation.
\nFormer student interns Arden Davis and Rebecca Levitan produced a short online presentation about the cleaning project, called Ancient Laundry (http://carlos.emory.edu/conservation/case-studies/ancient-american/ancient-laundry-podcast).
After bathing, the fragments were dried under clean cloths, which helped to draw more staining out of the textiles through contact and evaporation. The cleaned fragments were then realigned according the their shapes and patterns, suggesting the overall object dimension. Patricia Ewer then stitched the fragments and secured the frayed edges to a pair of padded, wrapped aluminum panels which will serve as display mounts and permanent storage supports. She worked with curator Dr. Rebecca Stone to select a section of the object that would be rolled back over a padded form to reveal the reverse color pattern on the other side of the doublecloth.
For more conservation information, please see The Threads of Time Conservation Project.
"]]]],["element",{"elementId":"59"},["name","Photo Credit"],["description"],["elementTextContainer",["elementText",{"elementTextId":"1660"},["text","Photos by Michael McKelvey, 2017"]]]]]],["elementSetContainer",["elementSet",{"elementSetId":"1"},["name","Dublin Core"],["description","The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/."],["elementContainer",["element",{"elementId":"50"},["name","Title"],["description","A name given to the resource"],["elementTextContainer",["elementText",{"elementTextId":"792"},["text","Doublecloth Fragments with Llamas and Herders
"]]]],["element",{"elementId":"41"},["name","Description"],["description","An account of the resource"],["elementTextContainer",["elementText",{"elementTextId":"1710"},["text","The principle of ayni—reciprocity, dualism, interlockedness— is consummately expressed in cloth such as this, a doublecloth dating to ca. 1000–1470 AD. Its patterns play out in indigo and white, a dualistic color choice, and in the plain-weave technique in which the horizontal warps and vertical wefts are equal partners. Moreover, in doublecloth there are actually two woven cloths, united as one; weavers sit on either side of a loom and create separate fabrics, except when they exchange one color of thread for the other to form the pattern of herders and llamas. In other words, blue areas on this face are white on the other face; likewise, white llamas are blue on the other side. This is a perfect expression of ayni, being the same pattern but in reversed colors.Writing—recording information in a format that others at the time and later can decipher—was accomplished by the Inka Empire of South America using thousands of knotted string devices known as khipu. In the Carlos collection there are two other examples of the knot writing (multi- and single-strand) that helped the Inka conquer more than 3,000 miles of territory and twelve million subjects in less than a century (1428–1534 AD).
\nIn this khipu, the main horizontal cord is read from left to right. As in Western mathematics, the Inka used a base-ten numerical system. Hanging down from the main cord are variously colored pendant cords with different types of knots arranged in registers. These record numbers, here the largest being “160” and the smallest “1” (see attached diagram file). Numbers can and were used primarily as codes—much like the binary code of 0’s and 1’s in modern computers—to delineate many types of information.
\nThough the Spanish never learned to read khipu, they did record that the Inka used them to record the amount of food in storehouses, census data, tribute, history, astronomy, and even poetry. While scholars are still working on the existing 850 examples of khipu to decipher their meanings, new archaeological findings include some khipu piled on top of maize kernels and others on top of beans, providing a tantalizing clue that may begin to unravel the way in which the Inka used threads to record various kinds
\n"]]]]]]],["tagContainer",["tag",{"tagId":"1"},["name","Introduction"]]]],["item",{"itemId":"50","public":"1","featured":"0"},["fileContainer",["file",{"fileId":"79"},["src","http://threads-of-time.carlos.emory.edu/files/original/d3cb4d9db5ffee6150acffacd5fc2051.jpg"],["authentication","2966ed10380c56970a9ca8ec4cc2a64f"]],["file",{"fileId":"382"},["src","http://threads-of-time.carlos.emory.edu/files/original/86da9fe1d4ac58e303715d68e2f00104.jpg"],["authentication","48a93af6389fb592a218a345a60566ab"],["elementSetContainer",["elementSet",{"elementSetId":"1"},["name","Dublin Core"],["description","The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. 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For more information see, http://dublincore.org/documents/dces/."],["elementContainer",["element",{"elementId":"41"},["name","Description"],["description","An account of the resource"],["elementTextContainer",["elementText",{"elementTextId":"1430"},["text","Only a small sample is needed for fiber microscopy and dating."]]]],["element",{"elementId":"48"},["name","Source"],["description","A related resource from which the described resource is derived"],["elementTextContainer",["elementText",{"elementTextId":"1431"},["text","Photo courtesy of Renée Stein"]]]],["element",{"elementId":"49"},["name","Subject"],["description","The topic of the resource"],["elementTextContainer",["elementText",{"elementTextId":"1727"},["text","Single-Strand Khipu Dating Sample"]]]]]]]],["file",{"fileId":"457"},["src","http://threads-of-time.carlos.emory.edu/files/original/b5f0c282626401bb4c7816e8d0be06c9.wav"],["authentication","797c77472b714c7d98aebb31ea3dcd0b"],["elementSetContainer",["elementSet",{"elementSetId":"1"},["name","Dublin Core"],["description","The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/."],["elementContainer",["element",{"elementId":"50"},["name","Title"],["description","A name given to the resource"],["elementTextContainer",["elementText",{"elementTextId":"1690"},["text","khipu"]]]]]]]]],["collection",{"collectionId":"1"},["elementSetContainer",["elementSet",{"elementSetId":"1"},["name","Dublin Core"],["description","The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/."],["elementContainer",["element",{"elementId":"50"},["name","Title"],["description","A name given to the resource"],["elementTextContainer",["elementText",{"elementTextId":"1"},["text","Ancient Peru"]]]]]]]],["itemType",{"itemTypeId":"18"},["name","Threads of Time Item"],["description","This item type contains fields for the works in the Threads of Time exhibition."],["elementContainer",["element",{"elementId":"52"},["name","Geographic Area"],["description"],["elementTextContainer",["elementText",{"elementTextId":"345"},["text","South America, Central Andes"]]]],["element",{"elementId":"53"},["name","Culture"],["description"],["elementTextContainer",["elementText",{"elementTextId":"346"},["text","Inka/Neo-Inka"]]]],["element",{"elementId":"54"},["name","Date"],["description"],["elementTextContainer",["elementText",{"elementTextId":"347"},["text","Late Horizon/Early Colonial, ca. 1508-1652 AD"]]]],["element",{"elementId":"26"},["name","Materials"],["description"],["elementTextContainer",["elementText",{"elementTextId":"348"},["text","Plant fiber (furcraea andina)"]]]],["element",{"elementId":"55"},["name","Credit Line"],["description"],["elementTextContainer",["elementText",{"elementTextId":"349"},["text","Ex coll. C. Clay and Virginia Aldridge"]]]],["element",{"elementId":"56"},["name","Accession Number"],["description"],["elementTextContainer",["elementText",{"elementTextId":"350"},["text","2002.1.40"]]]],["element",{"elementId":"57"},["name","Exhibition Checklist Number"],["description","This number will sort the collections."],["elementTextContainer",["elementText",{"elementTextId":"351"},["text","312-05"]]]],["element",{"elementId":"61"},["name","Technical Notes"],["description","Related notes on the object's conservation and treatment by Michael C. Carlos Museum objects conservator Renée Stein."],["elementTextContainer",["elementText",{"elementTextId":"1428"},["text","
The single strand khipu measures approximately 2-3 millimeters in diameter and is constructed from a 2-ply bundled cord, which is wrapped with an additional bundled cord, which includes occasional blue fibers. Conservator Ashley Jehle examined small samples of these blue fibers using a polarizing light microscope and characterized them as animal fibers. The deteriorated condition of the scale pattern prevented identification of the species, which is likely to be camelid, given the date. Small samples from the bundled cord and wrapping fibers were sent to Dr. Simon Lægaard of Aarhus University in Denmark. Using microscopy techniques, Dr. Lægaard identified both as leaf fibers from Furcraea Andina, as identified in the Feather Fan. Jehle also sent approximately 0.01g of plant fiber from the khipu to The Center for Applied Isotope Studies at the University of Georgia, Athens for radiocarbon (C-14) analysis by accelerator mass spectrometry (AMS) and stable isotope ratio analysis. Dr. Alexander Cherkinsky reported the calibrated date as between 1508-1652 CE.
For more conservation information, please see The Threads of Time Conservation Project.
\n"]]]],["element",{"elementId":"59"},["name","Photo Credit"],["description"],["elementTextContainer",["elementText",{"elementTextId":"1796"},["text","Photo by Bruce M. White, 2011"]]]]]],["elementSetContainer",["elementSet",{"elementSetId":"1"},["name","Dublin Core"],["description","The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/."],["elementContainer",["element",{"elementId":"50"},["name","Title"],["description","A name given to the resource"],["elementTextContainer",["elementText",{"elementTextId":"344"},["text","Single-Strand Khipu (Knot Writing Device)"]]]],["element",{"elementId":"41"},["name","Description"],["description","An account of the resource"],["elementTextContainer",["elementText",{"elementTextId":"1721"},["text","A writing device—fulfilling the communicative purpose of recording and transmitting knowledge among trained individuals over time—the Inka khipu can take a number of forms (a mono- and polychrome example). In the ways that a handwritten poem and a printed technical manual differ, textile writing, too, was adaptable to a wide range of uses and audiences in Inka times.
\nThe odd plant-fiber strand with unusual knots, has been scientifically dated to between 1508 and 1652 AD; therefore, it is an authentic Inka-to-early-Colonial object. Yet, unlike other khipu, it is entirely made of strands of Furcreae andina, a succulent whose stringy leaves can be made into fiber objects. Comprising only one cord, rather than a main cord with others hanging from it, makes it unique as well. Furthermore, the knots are made backwards.
\nAll these strange features defy exact explanation, but its possible date, as late as 1652, may indicate that in the first century after the Inka downfall writing had changed dramatically without their strict control over communication. Clearly shifts in almost every aspect of the khipu had taken place soon after the Spanish takeover.
"]]]]]]],["tagContainer",["tag",{"tagId":"1"},["name","Introduction"]]]],["item",{"itemId":"51","public":"1","featured":"0"},["fileContainer",["file",{"fileId":"80"},["src","http://threads-of-time.carlos.emory.edu/files/original/71456fa29f1309a500635e608dabf2e3.jpg"],["authentication","c317731d7578e427c1a2c3e12ba56803"]],["file",{"fileId":"341"},["src","http://threads-of-time.carlos.emory.edu/files/original/ae0be4166ee27904ae7b6924559748dd.JPG"],["authentication","7422063df82b68563bcee4480b45d5d1"],["elementSetContainer",["elementSet",{"elementSetId":"1"},["name","Dublin Core"],["description","The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/."],["elementContainer",["element",{"elementId":"41"},["name","Description"],["description","An account of the resource"],["elementTextContainer",["elementText",{"elementTextId":"1358"},["text","Textile Conservator Patricial Ewer stitched each of the 220 pendant cords of this khipu to a wrapped support board."]]]],["element",{"elementId":"48"},["name","Source"],["description","A related resource from which the described resource is derived"],["elementTextContainer",["elementText",{"elementTextId":"1359"},["text","Photo courtesy of Renée Stein"]]]]]]]],["file",{"fileId":"342"},["src","http://threads-of-time.carlos.emory.edu/files/original/c0dedfb496ef0ee01ed40c3a42b4ec17.jpg"],["authentication","3f9eb8fdd5e595621b5554cc6d8f5adb"],["elementSetContainer",["elementSet",{"elementSetId":"1"},["name","Dublin Core"],["description","The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/."],["elementContainer",["element",{"elementId":"41"},["name","Description"],["description","An account of the resource"],["elementTextContainer",["elementText",{"elementTextId":"1360"},["text","Boards made from aluminum panel or archival cardboard are padded and wrapped in cotton cloth. "]]]],["element",{"elementId":"48"},["name","Source"],["description","A related resource from which the described resource is derived"],["elementTextContainer",["elementText",{"elementTextId":"1361"},["text","Photo courtesy of Renée Stein"]]]]]]]],["file",{"fileId":"428"},["src","http://threads-of-time.carlos.emory.edu/files/original/10e93d8a770fbf62f1b5b95872d78e5c.jpg"],["authentication","217b207de6ceed1acc898637a716ae5e"],["elementSetContainer",["elementSet",{"elementSetId":"1"},["name","Dublin Core"],["description","The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/."],["elementContainer",["element",{"elementId":"48"},["name","Source"],["description","A related resource from which the described resource is derived"],["elementTextContainer",["elementText",{"elementTextId":"1581"},["text","Image courtesy of the Royal Library, Copenhagen"]]]],["element",{"elementId":"49"},["name","Subject"],["description","The topic of the resource"],["elementTextContainer",["elementText",{"elementTextId":"1723"},["text","Drawing by Felipe Guaman Poma de Ayala of the Inka ruler (left) being shown the accounts of the storehouses’ contents by a royal accountant or khipukamayok (right)."]]]]]]]],["file",{"fileId":"458"},["src","http://threads-of-time.carlos.emory.edu/files/original/4eabca9f20f8ada0fe3e0307a737bdbc.wav"],["authentication","797c77472b714c7d98aebb31ea3dcd0b"],["elementSetContainer",["elementSet",{"elementSetId":"1"},["name","Dublin Core"],["description","The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/."],["elementContainer",["element",{"elementId":"50"},["name","Title"],["description","A name given to the resource"],["elementTextContainer",["elementText",{"elementTextId":"1691"},["text","khipu"]]]]]]]]],["collection",{"collectionId":"1"},["elementSetContainer",["elementSet",{"elementSetId":"1"},["name","Dublin Core"],["description","The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/."],["elementContainer",["element",{"elementId":"50"},["name","Title"],["description","A name given to the resource"],["elementTextContainer",["elementText",{"elementTextId":"1"},["text","Ancient Peru"]]]]]]]],["itemType",{"itemTypeId":"18"},["name","Threads of Time Item"],["description","This item type contains fields for the works in the Threads of Time exhibition."],["elementContainer",["element",{"elementId":"52"},["name","Geographic Area"],["description"],["elementTextContainer",["elementText",{"elementTextId":"353"},["text","South America, Central Andes"]]]],["element",{"elementId":"53"},["name","Culture"],["description"],["elementTextContainer",["elementText",{"elementTextId":"354"},["text","Inka/Neo-Inka"]]]],["element",{"elementId":"54"},["name","Date"],["description"],["elementTextContainer",["elementText",{"elementTextId":"355"},["text","Early Colonial ca. 1489-1652 AD"]]]],["element",{"elementId":"26"},["name","Materials"],["description"],["elementTextContainer",["elementText",{"elementTextId":"356"},["text","Cotton"]]]],["element",{"elementId":"55"},["name","Credit Line"],["description"],["elementTextContainer",["elementText",{"elementTextId":"357"},["text","Ex coll. C. Clay and Virginia Aldridge"]]]],["element",{"elementId":"56"},["name","Accession Number"],["description"],["elementTextContainer",["elementText",{"elementTextId":"358"},["text","2002.1.118"]]]],["element",{"elementId":"57"},["name","Exhibition Checklist Number"],["description","This number will sort the collections."],["elementTextContainer",["elementText",{"elementTextId":"359"},["text","312-06"]]]],["element",{"elementId":"61"},["name","Technical Notes"],["description","Related notes on the object's conservation and treatment by Michael C. Carlos Museum objects conservator Renée Stein."],["elementTextContainer",["elementText",{"elementTextId":"1357"},["text","This khipu was completely stitched to a fabric-covered board in order to align and fully support each element. Small fragile fragments, such as the Wari-related tapestry fragment, were also fully stitched to wrapped boards. The secondary support board is a lightweight aluminum panel, padded with a layer of polyester batting and then covered with the cotton display cloth. When possible, objects were only stitched along one edge to permit viewing of the reverse. The stitched fragments will remain on the boards for future storage, examination, and display. Less fragile objects were temporarily placed on wrapped boards for this exhibition. These supports are made from archival corrugated and foam-core boards, padded and wrapped as the aluminum panels.
For more conservation information, please see The Threads of Time Conservation Project.
"]]]],["element",{"elementId":"59"},["name","Photo Credit"],["description"],["elementTextContainer",["elementText",{"elementTextId":"1798"},["text","Photo by Bruce M. White, 2011"]]]]]],["elementSetContainer",["elementSet",{"elementSetId":"1"},["name","Dublin Core"],["description","The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/."],["elementContainer",["element",{"elementId":"50"},["name","Title"],["description","A name given to the resource"],["elementTextContainer",["elementText",{"elementTextId":"352"},["text","Decimal Khipu (Knot Writing Device)"]]]],["element",{"elementId":"41"},["name","Description"],["description","An account of the resource"],["elementTextContainer",["elementText",{"elementTextId":"1797"},["text","It may seem odd that the distinctively Inka mode of writing in knotted threads would survive the Spanish invasion and colonization. Indeed, in 1581 the khipu was officially outlawed, although its use went underground and has not completely disappeared to this day. The large yet still fragmentary example very likely dates to the early colonial times, according to a Carbon-14 date that places it between 1489 and 1652 AD.
\nWhile it still could predate the 1534 conquest, a number of unusual features in comparison to solidly Inka ones (a single-strand and a polychrome) strongly suggest it post-dates the Inka Empire. This one records only the numbers between 1 and 5, unlike the classic khipu with numbers as high as 160 at far right. Its main cord has been cut in two places which would never have been done in ancient times; cutting thread or cloth was considered to be breaking its life force and disrespecting its integrity. These features suggest that this example is a later, simpler version of knot writing, as it was changing under the Spanish (who certainly cut cloth to tailor their clothing).
"]]]]]]],["tagContainer",["tag",{"tagId":"1"},["name","Introduction"]]]],["item",{"itemId":"12","public":"1","featured":"0"},["fileContainer",["file",{"fileId":"480","order":"1"},["src","http://threads-of-time.carlos.emory.edu/files/original/54ba46c08497e627b3c74685c9a28512.jpg"],["authentication","3afaddc4c18c60099d4af76493aa6dbc"]],["file",{"fileId":"47","order":"2"},["src","http://threads-of-time.carlos.emory.edu/files/original/78b91e59268ae1b5f42d39f71f777889.jpg"],["authentication","2baf0c7d55e2b6bd33fb186b0420fb0a"]],["file",{"fileId":"48","order":"3"},["src","http://threads-of-time.carlos.emory.edu/files/original/28551cf382728e70e01effca851a465f.jpg"],["authentication","303c9247158a86d86be67e05a0ebede7"]],["file",{"fileId":"461","order":"4"},["src","http://threads-of-time.carlos.emory.edu/files/original/b8ae7f5f14ec5987d3892da353a4ec44.wav"],["authentication","d1a3ea60df1406788d4449088c638ded"],["elementSetContainer",["elementSet",{"elementSetId":"1"},["name","Dublin Core"],["description","The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/."],["elementContainer",["element",{"elementId":"50"},["name","Title"],["description","A name given to the resource"],["elementTextContainer",["elementText",{"elementTextId":"1694"},["text","qumpi"]]]]]]]],["file",{"fileId":"462","order":"5"},["src","http://threads-of-time.carlos.emory.edu/files/original/c8dc0f583b1dcd01012d09a4ee121325.wav"],["authentication","5d59c565ad10bdbacfef550e22c55bb4"],["elementSetContainer",["elementSet",{"elementSetId":"1"},["name","Dublin Core"],["description","The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/."],["elementContainer",["element",{"elementId":"50"},["name","Title"],["description","A name given to the resource"],["elementTextContainer",["elementText",{"elementTextId":"1695"},["text","ukhu"]]]]]]]]],["collection",{"collectionId":"1"},["elementSetContainer",["elementSet",{"elementSetId":"1"},["name","Dublin Core"],["description","The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/."],["elementContainer",["element",{"elementId":"50"},["name","Title"],["description","A name given to the resource"],["elementTextContainer",["elementText",{"elementTextId":"1"},["text","Ancient Peru"]]]]]]]],["itemType",{"itemTypeId":"18"},["name","Threads of Time Item"],["description","This item type contains fields for the works in the Threads of Time exhibition."],["elementContainer",["element",{"elementId":"52"},["name","Geographic Area"],["description"],["elementTextContainer",["elementText",{"elementTextId":"80"},["text","South America, Central Andes, Central Coast"]]]],["element",{"elementId":"53"},["name","Culture"],["description"],["elementTextContainer",["elementText",{"elementTextId":"81"},["text","Chancay"]]]],["element",{"elementId":"54"},["name","Date"],["description"],["elementTextContainer",["elementText",{"elementTextId":"82"},["text","Late Intermediate Period, ca.1000-1470 AD"]]]],["element",{"elementId":"26"},["name","Materials"],["description"],["elementTextContainer",["elementText",{"elementTextId":"83"},["text","Reed, cotton, camelid fiber"]]]],["element",{"elementId":"55"},["name","Credit Line"],["description"],["elementTextContainer",["elementText",{"elementTextId":"84"},["text","Ex coll. C. Clay and Virginia Aldridge"]]]],["element",{"elementId":"56"},["name","Accession Number"],["description"],["elementTextContainer",["elementText",{"elementTextId":"85"},["text","2002.1.147"]]]],["element",{"elementId":"57"},["name","Exhibition Checklist Number"],["description","This number will sort the collections."],["elementTextContainer",["elementText",{"elementTextId":"362"},["text","312-09"]]]],["element",{"elementId":"59"},["name","Photo Credit"],["description"],["elementTextContainer",["elementText",{"elementTextId":"1754"},["text","Photo by Bruce M. White, 2014"]]]]]],["elementSetContainer",["elementSet",{"elementSetId":"1"},["name","Dublin Core"],["description","The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/."],["elementContainer",["element",{"elementId":"50"},["name","Title"],["description","A name given to the resource"],["elementTextContainer",["elementText",{"elementTextId":"79"},["text","Female Figure"]]]],["element",{"elementId":"41"},["name","Description"],["description","An account of the resource"],["elementTextContainer",["elementText",{"elementTextId":"1712"},["text","Several hundred of these effigy figures, completely made from fiber, remain from graves in the dry coastal sands of the Chancay Valley in central Perú. Reeds provide the basic structure, which is then dressed in miniature garments—here a skirt, belt, and blouse woven using three different techniques. A tapestry face with an embroidered nose and a wig of hair complete the lifelike rendition of a well-dressed woman from ca. 1000 AD.
\nEffigy figures such as this are not dolls. They were placed in the burials of adult women and wear special clothes made from qumpi, the finest cloth. Miniature textiles are even more difficult to weave than full-size ones. Here, the figure likely wears a version of her owner’s outfit, a companion—and perhaps near-portrait—of a specific woman. Many different face patterns characterize the remaining Chancay fiber figures.
\nAnother important Andean concept is also embodied in this tiny figure: ukhu, the importance of things that are normally hidden. You can see that her arms, and even fingers, were wrapped with thread to cover the reed armature, one manifestation of creative hiding by wrapping. Yet under her skirt one can barely see that her legs and toes were also wrapped, even though they cannot be seen under the long skirt. This is a widespread Native American impulse to finish all parts of a figure, to honor and make the image “true” to its subject. Hidden completion is true of human bodies as well (physically muscles are under skin, and in society certain body parts are routinely covered). What is not visible is understood as important, as ukhu communicates.
"]]]]]]]],["item",{"itemId":"13","public":"1","featured":"0"},["fileContainer",["file",{"fileId":"22"},["src","http://threads-of-time.carlos.emory.edu/files/original/1032a570d4038f48ec171816845e376d.jpg"],["authentication","90ba261e893bde6f68e6ea30a8ef7f22"]],["file",{"fileId":"23"},["src","http://threads-of-time.carlos.emory.edu/files/original/ac2a4e3120854936ecaf03c8749ed648.jpg"],["authentication","f259225f57c037d784fd3b036c7626b3"]],["file",{"fileId":"323"},["src","http://threads-of-time.carlos.emory.edu/files/original/92122d3ede42dc10c7a24109fb7b6567.jpg"],["authentication","1f658b6d2b686678771d37ace0c91bbf"]],["file",{"fileId":"343"},["src","http://threads-of-time.carlos.emory.edu/files/original/1f9e58566ba18c6af60bbf5c8d74984a.jpg"],["authentication","5d4d409b0118828bd0c07d0af3d77e43"],["elementSetContainer",["elementSet",{"elementSetId":"1"},["name","Dublin Core"],["description","The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/."],["elementContainer",["element",{"elementId":"41"},["name","Description"],["description","An account of the resource"],["elementTextContainer",["elementText",{"elementTextId":"1365"},["text","The complex weave structure includes a voided grid pattern with added tassels and disks. "]]]],["element",{"elementId":"48"},["name","Source"],["description","A related resource from which the described resource is derived"],["elementTextContainer",["elementText",{"elementTextId":"1366"},["text","Photo courtesy of Renée Stein"]]]]]]]],["file",{"fileId":"344"},["src","http://threads-of-time.carlos.emory.edu/files/original/4a42083b6c129ce721439717fda57255.jpg"],["authentication","2865d58c64bef39ec0e582c6b8012851"],["elementSetContainer",["elementSet",{"elementSetId":"1"},["name","Dublin Core"],["description","The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. 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For more information see, http://dublincore.org/documents/dces/."],["elementContainer",["element",{"elementId":"50"},["name","Title"],["description","A name given to the resource"],["elementTextContainer",["elementText",{"elementTextId":"1"},["text","Ancient Peru"]]]]]]]],["itemType",{"itemTypeId":"18"},["name","Threads of Time Item"],["description","This item type contains fields for the works in the Threads of Time exhibition."],["elementContainer",["element",{"elementId":"52"},["name","Geographic Area"],["description"],["elementTextContainer",["elementText",{"elementTextId":"87"},["text","South America, Central Andes, North Coast"]]]],["element",{"elementId":"53"},["name","Culture"],["description"],["elementTextContainer",["elementText",{"elementTextId":"88"},["text","Pacatnamú
"]]]],["element",{"elementId":"54"},["name","Date"],["description"],["elementTextContainer",["elementText",{"elementTextId":"89"},["text","Late Intermediate Period, ca. 900-1300 AD"]]]],["element",{"elementId":"55"},["name","Credit Line"],["description"],["elementTextContainer",["elementText",{"elementTextId":"90"},["text","Gift of Cindy Karp"]]]],["element",{"elementId":"56"},["name","Accession Number"],["description"],["elementTextContainer",["elementText",{"elementTextId":"91"},["text","2004.64.1A (larger fragment)\r\n2004.64.1B (smaller fragment)\r\n"]]]],["element",{"elementId":"57"},["name","Exhibition Checklist Number"],["description","This number will sort the collections."],["elementTextContainer",["elementText",{"elementTextId":"363"},["text","312-10"]]]],["element",{"elementId":"61"},["name","Technical Notes"],["description","Related notes on the object's conservation and treatment by Michael C. Carlos Museum objects conservator Renée Stein."],["elementTextContainer",["elementText",{"elementTextId":"1362"},["text","The red tasseled fragment has a very complex weave structure, with tapestry designs hidden by the added tassels. The grid pattern and floating disks created many openings (slits) in the tapestry as well as repeated areas of exposed warps. This complex structure is vulnerable and requires support for display and study. Yet, it is crucial to be able to examine the reverse, so the object could not be fully stitched to a secondary support. Instead, Patricia Ewer stitched the very fragile tassled textile to a sheer nylon backing, stabilizing the structure while also allowing the back to be examined. This lined fragment was then placed onto a fabric-wrapped padded support for display at a slight angle inside the exhibition case.The two fragments of this tunic from the far north coast of Perú are shown with the larger remaining portion facing out and the smaller one showing the side worn toward the wearer’s body. In other words, the whole tunic was covered with red tassels that almost entirely obscured the tiny woven multicolor figures (see the drawing above). This conscious choice, made around a thousand years ago on the coast of Perú, corresponds to the Quechua concept of ukhu or the hidden potentially revealed.
\n\nThe deliberate hiding, and the implication that the art therefore does not necessarily cater to a human audience, is central to traditional Andean thought. In the religious orientation known as shamanism, which was embraced by all Native Americans, the vitally true visions experienced by the spiritual leaders are hidden from others; insight comes from other cosmic realms. Spirits play a key role in shamanic belief and so making everything perceptually available for humans is not paramount.
\n\nThis tunic also celebrated an immense wealth of scarlet red thread, laboriously dyed from tens of thousands of crushed cochineal beetles. Under its expanse, in a further act of conspicuous consumption, the figures are woven of high-prestige indigo blue and other colors. To have so much time, access to the finest dyes and weavers, and to withhold it from others is a true act of power, the basis of ukhu.
\n"]]]]]]]],["item",{"itemId":"14","public":"1","featured":"0"},["fileContainer",["file",{"fileId":"24"},["src","http://threads-of-time.carlos.emory.edu/files/original/6276865b2edca8494abcfb7214eb61f7.jpg"],["authentication","2508423ef5f6aeda0aff9ffff9e7c878"]],["file",{"fileId":"466"},["src","http://threads-of-time.carlos.emory.edu/files/original/d050c80ee0a8fed1eb06762cde5c1ad5.wav"],["authentication","37a837ed58b5b210582da7773966810b"],["elementSetContainer",["elementSet",{"elementSetId":"1"},["name","Dublin Core"],["description","The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/."],["elementContainer",["element",{"elementId":"50"},["name","Title"],["description","A name given to the resource"],["elementTextContainer",["elementText",{"elementTextId":"1699"},["text","tumi"]]]]]]]],["file",{"fileId":"467"},["src","http://threads-of-time.carlos.emory.edu/files/original/08c41ed872ccfd95e471af3552313db5.wav"],["authentication","5d59c565ad10bdbacfef550e22c55bb4"],["elementSetContainer",["elementSet",{"elementSetId":"1"},["name","Dublin Core"],["description","The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/."],["elementContainer",["element",{"elementId":"50"},["name","Title"],["description","A name given to the resource"],["elementTextContainer",["elementText",{"elementTextId":"1700"},["text","ukhu"]]]]]]]]],["collection",{"collectionId":"1"},["elementSetContainer",["elementSet",{"elementSetId":"1"},["name","Dublin Core"],["description","The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/."],["elementContainer",["element",{"elementId":"50"},["name","Title"],["description","A name given to the resource"],["elementTextContainer",["elementText",{"elementTextId":"1"},["text","Ancient Peru"]]]]]]]],["itemType",{"itemTypeId":"18"},["name","Threads of Time Item"],["description","This item type contains fields for the works in the Threads of Time exhibition."],["elementContainer",["element",{"elementId":"52"},["name","Geographic Area"],["description"],["elementTextContainer",["elementText",{"elementTextId":"93"},["text","South America, Central Andes"]]]],["element",{"elementId":"53"},["name","Culture"],["description"],["elementTextContainer",["elementText",{"elementTextId":"94"},["text","Inka"]]]],["element",{"elementId":"54"},["name","Date"],["description"],["elementTextContainer",["elementText",{"elementTextId":"95"},["text","Late Horizon, ca. 1428-1534 AD"]]]],["element",{"elementId":"26"},["name","Materials"],["description"],["elementTextContainer",["elementText",{"elementTextId":"96"},["text","Bronze (copper tin alloy)"]]]],["element",{"elementId":"55"},["name","Credit Line"],["description"],["elementTextContainer",["elementText",{"elementTextId":"97"},["text","Gift of William C. and Carol W. Thibadeau"]]]],["element",{"elementId":"56"},["name","Accession Number"],["description"],["elementTextContainer",["elementText",{"elementTextId":"98"},["text","1989.8.51"]]]],["element",{"elementId":"57"},["name","Exhibition Checklist Number"],["description","This number will sort the collections."],["elementTextContainer",["elementText",{"elementTextId":"364"},["text","312-11"]]]],["element",{"elementId":"61"},["name","Technical Notes"],["description","Related notes on the object's conservation and treatment by Michael C. Carlos Museum objects conservator Renée Stein."],["elementTextContainer",["elementText",{"elementTextId":"1442"},["text","Metal objects, (see also Sicán Tumi and Earspools), corrode in burial environments due to exposure to moisture and salts in the ground. Some corrosion can be very destructive, causing loss of surface detail or extensive damage. Stable corrosion that forms on the surface can, however, be protective and may preserve evidence, including the weave pattern of textiles that were wrapped around the metal objects for burial. The textile is replaced by corrosion pseudo morphs that reproduce the weave. Close examination of the corrosion products on the large tumi revealed a weft-faced plainweave. The organic fibers of the textile do not typically survive, but some fibers remain trapped within the corrosion products on the earspools and llama tumi. Under magnification, using a stereobinocular microscope and transmitted light microscope, it is possible to see characteristic twist of cotton fibers.
For more conservation information, please see The Threads of Time Conservation Project.
"]]]],["element",{"elementId":"59"},["name","Photo Credit"],["description"],["elementTextContainer",["elementText",{"elementTextId":"1777"},["text","Photo by Michael McKelvey"]]]]]],["elementSetContainer",["elementSet",{"elementSetId":"1"},["name","Dublin Core"],["description","The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/."],["elementContainer",["element",{"elementId":"50"},["name","Title"],["description","A name given to the resource"],["elementTextContainer",["elementText",{"elementTextId":"92"},["text","Tumi (Ceremonial Knife) with Llama Head"]]]],["element",{"elementId":"41"},["name","Description"],["description","An account of the resource"],["elementTextContainer",["elementText",{"elementTextId":"1776"},["text","It may seem odd that a textile exhibition should include several metal objects. However, this ceremonial knife with a crescent-shaped blade (known as a tumi) shows clear evidence of having been wrapped in textiles in antiquity. This Inka tumi takes the form of a llama, the long-necked camelid that is the quintessential Andean pack animal, and remains of the cloth in which it was wrapped appear on both sides of the blade. The distinctive pattern of a plain-weave cloth—each set of threads going over and under the other—is now preserved in metal. An earlier Sicán tumi is almost completely covered with pseudomorphs. These “pseudomorphs”—meaning elements that have become part of a piece after manufacture—form during burial, when organic materials are either encased or replaced by corrosion products, retaining the form and appearance of the original materials within the mineralized layers. Pseudomorphs preserve the original weave structures, show the diameter and spin-ply of threads, and even suggest whether cotton or camelid fiber was utilized. Sometimes fragments of the actual ancient cloth survive within the corrosion, as seen on earspools with spider motifs. This wrapping of other precious objects expresses the concept of ukhu, the dialectic of hiding and revealing so important in the Andean tradition.
"]]]]]]]],["item",{"itemId":"15","public":"1","featured":"0"},["fileContainer",["file",{"fileId":"25","order":"1"},["src","http://threads-of-time.carlos.emory.edu/files/original/c6e840429bdd1fd9f386f7ccdcb4abb9.jpg"],["authentication","4f1186c7d801af79aee592137931cda8"]],["file",{"fileId":"26","order":"2"},["src","http://threads-of-time.carlos.emory.edu/files/original/43e75a27294a4cb620e000f1a52afb92.jpg"],["authentication","ec1f228070ffe8f5ccaefbc89e852d4b"]],["file",{"fileId":"386","order":"3"},["src","http://threads-of-time.carlos.emory.edu/files/original/4084b5d5e9490e36f155f0c9d510da46.jpg"],["authentication","dbd20ddb2a586d36f59a826a5094e8b6"],["elementSetContainer",["elementSet",{"elementSetId":"1"},["name","Dublin Core"],["description","The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. 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For more information see, http://dublincore.org/documents/dces/."],["elementContainer",["element",{"elementId":"50"},["name","Title"],["description","A name given to the resource"],["elementTextContainer",["elementText",{"elementTextId":"1706"},["text","ukhu"]]]]]]]]],["collection",{"collectionId":"1"},["elementSetContainer",["elementSet",{"elementSetId":"1"},["name","Dublin Core"],["description","The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/."],["elementContainer",["element",{"elementId":"50"},["name","Title"],["description","A name given to the resource"],["elementTextContainer",["elementText",{"elementTextId":"1"},["text","Ancient Peru"]]]]]]]],["itemType",{"itemTypeId":"18"},["name","Threads of Time Item"],["description","This item type contains fields for the works in the Threads of Time exhibition."],["elementContainer",["element",{"elementId":"52"},["name","Geographic Area"],["description"],["elementTextContainer",["elementText",{"elementTextId":"100"},["text","South America, Central Andes, North Coast"]]]],["element",{"elementId":"53"},["name","Culture"],["description"],["elementTextContainer",["elementText",{"elementTextId":"101"},["text","Sicán"]]]],["element",{"elementId":"54"},["name","Date"],["description"],["elementTextContainer",["elementText",{"elementTextId":"102"},["text","Late Intermediate Period, Middle Sicán, 1050-1100 AD"]]]],["element",{"elementId":"26"},["name","Materials"],["description"],["elementTextContainer",["elementText",{"elementTextId":"103"},["text","Bronze (copper arsenic alloy)"]]]],["element",{"elementId":"55"},["name","Credit Line"],["description"],["elementTextContainer",["elementText",{"elementTextId":"104"},["text","Gift of Cora W. and Laurence C. Witten II"]]]],["element",{"elementId":"56"},["name","Accession Number"],["description"],["elementTextContainer",["elementText",{"elementTextId":"105"},["text","1994.18.33"]]]],["element",{"elementId":"57"},["name","Exhibition Checklist Number"],["description","This number will sort the collections."],["elementTextContainer",["elementText",{"elementTextId":"365"},["text","312-12"]]]],["element",{"elementId":"61"},["name","Technical Notes"],["description","Related notes on the object's conservation and treatment by Michael C. Carlos Museum objects conservator Renée Stein."],["elementTextContainer",["elementText",{"elementTextId":"1443"},["text","Metal objects, (see also Llama Tumi and Earspools), corrode in burial environments due to exposure to moisture and salts in the ground. Some corrosion can be very destructive, causing loss of surface detail or extensive damage. Stable corrosion that forms on the surface can, however, be protective and may preserve evidence, including the weave pattern of textiles that were wrapped around the metal objects for burial. The textile is replaced by corrosion pseudo morphs that reproduce the weave. Close examination of the corrosion products on the large tumi revealed a weft-faced plainweave. The organic fibers of the textile do not typically survive, but some fibers remain trapped within the corrosion products on the earspools and llama tumi. Under magnification, using a stereobinocular microscope and transmitted light microscope, it is possible to see characteristic twist of cotton fibers.
\n
For more conservation information, please see The Threads of Time Conservation Project.
Metal objects, (see also Llama Tumi and Sicán Tumi), corrode in burial environments due to exposure to moisture and salts in the ground. Some corrosion can be very destructive, causing loss of surface detail or extensive damage. Stable corrosion that forms on the surface can, however, be protective and may preserve evidence, including the weave pattern of textiles that were wrapped around the metal objects for burial. The textile is replaced by corrosion pseudo morphs that reproduce the weave. Close examination of the corrosion products on the large tumi revealed a weft-faced plainweave. The organic fibers of the textile do not typically survive, but some fibers remain trapped within the corrosion products on the earspools and llama tumi. Under magnification, using a stereobinocular microscope and transmitted light microscope, it is possible to see characteristic twist of cotton fibers.
For more conservation information, please see The Threads of Time Conservation Project.
"]]]],["element",{"elementId":"59"},["name","Photo Credit"],["description"],["elementTextContainer",["elementText",{"elementTextId":"1780"},["text","Photo by Michael McKelvey"]]]]]],["elementSetContainer",["elementSet",{"elementSetId":"1"},["name","Dublin Core"],["description","The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/."],["elementContainer",["element",{"elementId":"50"},["name","Title"],["description","A name given to the resource"],["elementTextContainer",["elementText",{"elementTextId":"106"},["text","Earspools with Spider Motif"]]]],["element",{"elementId":"41"},["name","Description"],["description","An account of the resource"],["elementTextContainer",["elementText",{"elementTextId":"1779"},["text","It may seem odd that a textile exhibition should include several metal objects. However, these earspools with wide posts show clear evidence of having been wrapped in textiles in antiquity. An Inka tumi and Sicán tumi (ceremonial knives with crescent-shaped blades) show similar signs of textile wrapping. The distinctive pattern of a plain-weave cloth—each set of threads going over and under the other—is now preserved in metal. These “pseudomorphs”—meaning elements that have become part of a piece after manufacture—form during burial, when organic materials are either encased or replaced by corrosion products, retaining the form and appearance of the original materials within the mineralized layers. Pseudomorphs preserve the original weave structures, show the diameter and spin-ply of threads, and even suggest whether cotton or camelid fiber was utilized. Sometimes fragments of the actual ancient cloth survive within the corrosion, as seen on the posts of these earspools. This wrapping of other precious objects expresses the concept of ukhu, the dialectic of hiding and revealing so important in the Andean tradition.
"]]]]]]]]]