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The Spanish destroyed as much Inka art and culture as possible during the invasion and colonization, melting down the precious metals and burning the royal mummies. Despite this, they admired Inka textiles, as Pizarro’s secretary Francisco de Xeres recorded in his memoir: “In this town of Caxamalca [Cajamarca] certain houses were found full of cloth, packed in bales which reached to the roof. They say it was a depot to supply the army. The Christians [Spanish invaders] took what they required, and yet the house remained so full that what was taken seemed hardly to be missed. The cloth was the best that had been seen in the Indies. The greater part of it is of very fine wool, and the rest of cotton of rich colours, beautifully variegated” (de Xerxes 1872, 60).
\nThis small fragment of an Inka tapestry tunicis the kind of cloth de Xeres was describing, though not for the army, but a pattern reserved for upper administrators in the Empire. The pattern has four squares, with two of them connected by a diagonal line. It refers to the name for the Inka Empire, “Tawantinsuyu” or the “Land of the Four Quarters United.” This high-status qumpi includes 162 wefts and 28 warps per inch, and its indigo blue-green is likewise very prestigious and rare. The original tunic would have measured approximately 33 inches square.
\n"]]]]]]]],["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. For more information see, http://dublincore.org/documents/dces/."],["elementContainer",["element",{"elementId":"41"},["name","Description"],["description","An account of the resource"],["elementTextContainer",["elementText",{"elementTextId":"1445"},["text","The weave pattern is preserved in the corrosion on the tumi in shape of Sicán lord."]]]],["element",{"elementId":"48"},["name","Source"],["description","A related resource from which the described resource is derived"],["elementTextContainer",["elementText",{"elementTextId":"1446"},["text","Photo courtesy of Renée Stein"]]]],["element",{"elementId":"49"},["name","Subject"],["description","The topic of the resource"],["elementTextContainer",["elementText",{"elementTextId":"1733"},["text","Sicán Tumi Metal Corrosion"]]]]]]]],["file",{"fileId":"477","order":"4"},["src","http://threads-of-time.carlos.emory.edu/files/original/f1bea7803400b59fb9b29b579982064a.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":"1732"},["text","Tumi"]]]]]]]],["file",{"fileId":"473","order":"5"},["src","http://threads-of-time.carlos.emory.edu/files/original/5e721ce97dba5657329639e3e1aefff4.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":"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 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":"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. 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":"794"},["text","South America, Central Andes"]]]],["element",{"elementId":"53"},["name","Culture"],["description"],["elementTextContainer",["elementText",{"elementTextId":"795"},["text","Chancay"]]]],["element",{"elementId":"54"},["name","Date"],["description"],["elementTextContainer",["elementText",{"elementTextId":"796"},["text","Late Intermediate Period, ca. 1000–1470 AD"]]]],["element",{"elementId":"26"},["name","Materials"],["description"],["elementTextContainer",["elementText",{"elementTextId":"797"},["text","Cotton, camelid fiber"]]]],["element",{"elementId":"55"},["name","Credit Line"],["description"],["elementTextContainer",["elementText",{"elementTextId":"798"},["text","Ex coll. 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.This belt dates from between 1000 and 1450 AD. It represents continuity within the long tradition of finely woven belts made in warp-face techniques. It is similar, but not identical, to the complementary techniques used in the 20th and 21st century. Made in supple cotton, still flexible after many centuries, its patterning features frontal figures with their hands out and elbows bent. This is the most common pose seen in Late Intermediate Period coastal textiles, especially those of the Chimú Empire. The elaborate and colorful tassels are also characteristic of this culture.
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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":"1703"},["text","ukhu"]]]]]]]],["file",{"fileId":"471"},["src","http://threads-of-time.carlos.emory.edu/files/original/cb0c2fe7a585ea489ea72d88d2884979.wav"],["authentication","63f9132b5e49b263b14ba2a2f24f29f2"],["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":"1704"},["text","q'epi"]]]]]]]]],["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":"114"},["text","South America, Central Andes, Central Coast"]]]],["element",{"elementId":"53"},["name","Culture"],["description"],["elementTextContainer",["elementText",{"elementTextId":"115"},["text","Chancay"]]]],["element",{"elementId":"54"},["name","Date"],["description"],["elementTextContainer",["elementText",{"elementTextId":"116"},["text","Late Intermediate Period, ca. 1000-1450 AD\r\n\r\n"]]]],["element",{"elementId":"26"},["name","Materials"],["description"],["elementTextContainer",["elementText",{"elementTextId":"117"},["text","Cotton"]]]],["element",{"elementId":"55"},["name","Credit Line"],["description"],["elementTextContainer",["elementText",{"elementTextId":"118"},["text","Gift of John Howe"]]]],["element",{"elementId":"56"},["name","Accession Number"],["description"],["elementTextContainer",["elementText",{"elementTextId":"119"},["text","2003.32.1A (Outer Bundle Wrapping Cloth)\r\n2003.32.1F (upper left)\r\n2003.32.1Q (upper right)\r\n2003.32.1B (lower right)\r\n2003.32.1P (lower left)\r\n"]]]],["element",{"elementId":"57"},["name","Exhibition Checklist Number"],["description","This number will sort the collections."],["elementTextContainer",["elementText",{"elementTextId":"367"},["text","312-14"]]]],["element",{"elementId":"59"},["name","Photo Credit"],["description"],["elementTextContainer",["elementText",{"elementTextId":"1782"},["text","Photos by Bruce M. White, 2016"]]]]]],["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":"113"},["text","Bundle of Miniature Textiles"]]]],["element",{"elementId":"41"},["name","Description"],["description","An account of the resource"],["elementTextContainer",["elementText",{"elementTextId":"1781"},["text","For millennia, Andean peoples have wrapped their precious objects in cloth, from mummies (the first ones in world history), to metalwork, to other cloths. Wrapping expresses the concept of ukhu, the importance of that which is hidden. Here nineteen miniature cloths were folded and tied up inside a larger cloth. This is a rare, over 600-year-old version of a q’epi, a bundle in which a contemporary shaman carries precious items to ceremonies, lays them out, and sometimes burns them as a sacrifice, or buries them as an offering to Pachamama, the Earth.
\nThis ancient bundle may have accompanied a Chancay woman spiritualist on her afterlife journey: the dry sands of this area preserve miniature textile ensembles in women’s graves (along with textile workbaskets). Miniature textiles are also buried with fiber female effigies.
\nThe inner cloths and outer wrapping mostly feature plain weave, a simple over-and-under technique, the wrapping cloth with a low thread count (only eighteen threads per inch in each direction). However, many have various added techniques, such as brocade, and contain high-status colors, such as red and blue. Even when the bundle is tied up fairly tight, the colorful protected pieces peek out from the covering cloth. This represents another aspect of ukhu: to know that something is hidden it is imperative that a little bit of it be perceptible.
\nWhy is a complex topic, but the religious orientation of indigenous Americas, shamanism, dictates that hidden things are naturally more powerful. This is true of a shamans’ visionary enlightenment, achieved through trances that are not accessible to others. Yet hidden information must be revealed, as when a shaman shows what happened on the Other Side by healing a situation in this realm.
\n"]]]]]]]],["item",{"itemId":"30","public":"1","featured":"0"},["fileContainer",["file",{"fileId":"52"},["src","http://threads-of-time.carlos.emory.edu/files/original/2c7b95c2674c0171772e80ee923d781f.jpg"],["authentication","8f2d574f9aa614dbdc2cb3511d31c7fb"]],["file",{"fileId":"491"},["src","http://threads-of-time.carlos.emory.edu/files/original/861d2b62fd339225b7200a66d79d0a26.wav"],["authentication","510973ea68033b6d612bccba28662c8f"]]],["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":"202"},["text","South America, Central Andes, Central Coast"]]]],["element",{"elementId":"53"},["name","Culture"],["description"],["elementTextContainer",["elementText",{"elementTextId":"203"},["text","Chancay"]]]],["element",{"elementId":"54"},["name","Date"],["description"],["elementTextContainer",["elementText",{"elementTextId":"204"},["text","Late Intermediate Period, ca. 1000-1470 AD"]]]],["element",{"elementId":"26"},["name","Materials"],["description"],["elementTextContainer",["elementText",{"elementTextId":"205"},["text","Camelid fiber, wood"]]]],["element",{"elementId":"55"},["name","Credit Line"],["description"],["elementTextContainer",["elementText",{"elementTextId":"206"},["text","Gift of Cora W. and Laurence C. Witten II"]]]],["element",{"elementId":"56"},["name","Accession Number"],["description"],["elementTextContainer",["elementText",{"elementTextId":"207"},["text","1992.15.289"]]]],["element",{"elementId":"57"},["name","Exhibition Checklist Number"],["description","This number will sort the collections."],["elementTextContainer",["elementText",{"elementTextId":"398"},["text","312-23"]]]],["element",{"elementId":"59"},["name","Photo Credit"],["description"],["elementTextContainer",["elementText",{"elementTextId":"1785"},["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":"201"},["text","Comb with Birds"]]]],["element",{"elementId":"41"},["name","Description"],["description","An account of the resource"],["elementTextContainer",["elementText",{"elementTextId":"866"},["text","
Tiny rows of birds adorn this very special, yet useable comb. The weaver used the tines as the warps. Unwoven tines go through the hair, but also simulate fringe on a textile. Here the colors feature the typical Chancay palette of soft golds, pinks, and red.
\nThe high-status red dye cochineal yields the tones from brilliant scarlet to pale pink. Cochineal is a rare and permanent red dye, one that the Spanish later controlled in the world market and made a fortune almost as large as that garnered from Inka gold and silver.
"]]]]]]]],["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":"16","public":"1","featured":"0"},["fileContainer",["file",{"fileId":"27"},["src","http://threads-of-time.carlos.emory.edu/files/original/46b02396a53c0b42e3104862f48d59ef.jpg"],["authentication","d8bf918bf245d714dc4e0adf1976a82e"]],["file",{"fileId":"28"},["src","http://threads-of-time.carlos.emory.edu/files/original/22077a91042bc84aea22c03e0321d7ba.jpg"],["authentication","9d4c83ec0fa063fcf0b376eff4f52244"]],["file",{"fileId":"387"},["src","http://threads-of-time.carlos.emory.edu/files/original/0a91a0af010fa83a14519bc3da69a6fd.jpg"],["authentication","8738969d0a704b9cc487386c90e6c3a0"],["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":"1449"},["text","Cotton fibers are trapped in the corrosion products on an earspool."]]]],["element",{"elementId":"48"},["name","Source"],["description","A related resource from which the described resource is derived"],["elementTextContainer",["elementText",{"elementTextId":"1450"},["text","Photo courtesy of Renée Stein"]]]],["element",{"elementId":"49"},["name","Subject"],["description","The topic of the resource"],["elementTextContainer",["elementText",{"elementTextId":"1734"},["text","Earspool Metal Corrosion and Fibers"]]]]]]]],["file",{"fileId":"468"},["src","http://threads-of-time.carlos.emory.edu/files/original/e0486902c1f5a6ef66d0a5bb66c90dbe.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":"1701"},["text","tumi"]]]]]]]],["file",{"fileId":"469"},["src","http://threads-of-time.carlos.emory.edu/files/original/e93eca193c4fa8558b746d780f718e0b.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":"1702"},["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":"107"},["text","South America, Central Andes, North Coast"]]]],["element",{"elementId":"53"},["name","Culture"],["description"],["elementTextContainer",["elementText",{"elementTextId":"108"},["text","Moche"]]]],["element",{"elementId":"54"},["name","Date"],["description"],["elementTextContainer",["elementText",{"elementTextId":"109"},["text","Early Intermediate Period, ca. 1-650 AD"]]]],["element",{"elementId":"26"},["name","Materials"],["description"],["elementTextContainer",["elementText",{"elementTextId":"110"},["text","Gilded copper alloy"]]]],["element",{"elementId":"55"},["name","Credit Line"],["description"],["elementTextContainer",["elementText",{"elementTextId":"111"},["text","Gift of Cora W. and Laurence C. Witten II"]]]],["element",{"elementId":"56"},["name","Accession Number"],["description"],["elementTextContainer",["elementText",{"elementTextId":"112"},["text","1992.15.274 A/B"]]]],["element",{"elementId":"57"},["name","Exhibition Checklist Number"],["description","This number will sort the collections."],["elementTextContainer",["elementText",{"elementTextId":"366"},["text","312-13"]]]],["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":"1447"},["text","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.
"]]]]]]]],["item",{"itemId":"1","public":"1","featured":"0"},["fileContainer",["file",{"fileId":"8"},["src","http://threads-of-time.carlos.emory.edu/files/original/a2778c4d6e93137a12e93cd74db343c9.jpg"],["authentication","674acceb9ee9b830fa41b1408eb41008"]],["file",{"fileId":"379"},["src","http://threads-of-time.carlos.emory.edu/files/original/7fbd0f57bc3cb1939ad3c4cfc783ed8a.jpg"],["authentication","e3c59255e046e212968ff1cea21578be"],["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":"1419"},["text","This image of the fiber cross-section was taken through a transmitted light microscope at approximately 20x magnification."]]]],["element",{"elementId":"48"},["name","Source"],["description","A related resource from which the described resource is derived"],["elementTextContainer",["elementText",{"elementTextId":"1420"},["text","Photo courtesy of Renée Stein"]]]],["element",{"elementId":"49"},["name","Subject"],["description","The topic of the resource"],["elementTextContainer",["elementText",{"elementTextId":"1725"},["text","Feather Fan-Cross Section"]]]]]]]]],["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":"8"},["text","South America, Central Andes"]]]],["element",{"elementId":"26"},["name","Materials"],["description"],["elementTextContainer",["elementText",{"elementTextId":"9"},["text","Cotton, plant fiber (furcraea andina), feathers"]]]],["element",{"elementId":"57"},["name","Exhibition Checklist Number"],["description","This number will sort the collections."],["elementTextContainer",["elementText",{"elementTextId":"311"},["text","312-32"]]]],["element",{"elementId":"53"},["name","Culture"],["description"],["elementTextContainer",["elementText",{"elementTextId":"409"},["text","Chimú"]]]],["element",{"elementId":"54"},["name","Date"],["description"],["elementTextContainer",["elementText",{"elementTextId":"410"},["text","Late Intermediate Period, calibrated Carbon-14 date 1282-1384 AD "]]]],["element",{"elementId":"55"},["name","Credit Line"],["description"],["elementTextContainer",["elementText",{"elementTextId":"411"},["text","Gift of Katherine Kelly"]]]],["element",{"elementId":"56"},["name","Accession Number"],["description"],["elementTextContainer",["elementText",{"elementTextId":"412"},["text","1992.21.1"]]]],["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":"1417"},["text","The feathers in this fan are tied with braided and twisted cord made of plant fiber. Conservator Ashley Jehle examined small transverse and cross-section samples of the plant fibers under transmitted light using a polarizing light microscope. These samples were compared with a known sample of Furcraea andina. The overall kidney-bean shape of the cross-section as well as the shape and arrangement of the vascular bundles suggests identification as Furcraea andina or a similar succulent species. Although slightly richer in color, the plant fibers from the feather fan appear similar to the thin, round, glossy fibers of the single khipu strand, also identified as Furcraea andina. Jehle sent approximately 0.01g of plant fiber from the feather fan 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 age between 1282-1384 CE.
For more conservation information, please see The Threads of Time Conservation Project.
"]]]],["element",{"elementId":"59"},["name","Photo Credit"],["description"],["elementTextContainer",["elementText",{"elementTextId":"1770"},["text","Photo by Bruce M. White, 2016"]]]]]],["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":"6"},["text","Feather Fan"]]]],["element",{"elementId":"41"},["name","Description"],["description","An account of the resource"],["elementTextContainer",["elementText",{"elementTextId":"899"},["text","Feathers from the Amazonian rainforest were prized above all else, and must be included in the idea of qumpi, precious fiberwork. Bringing them over the mountains to the coast, where such fans as this one were preserved, also invokes another key Quechua concept, tinku, or the bringing together of disparate parts to create new wholes. The braids are made from Furcraea andina, a succulent resembling agave but with drooping, greenish leaves; its tough strands can be peeled off in strips, dried, and woven or braided. The braids were stitched across to create the fan’s handle using local coastal cotton thread. Thus, three distinct eco-zones combine to form this useful yet aesthetic fan.
\nBecause modern Amazonian peoples continue to make all kinds of feather objects, there can be confusion between modern and well-preserved ancient ones. Carbon-14 testing assigned a date of ca. 1300 AD to a sample of the plant fiber, indicating that it was indeed created during the later Chimú Empire.
"]]]]]]]]]