1 10 35 https://threads-of-time.carlos.emory.edu/files/original/47861c83e41f08a899df30e27db7505f.jpg 2ddfb6f9e838f65563ca1e7cabe270e5 https://threads-of-time.carlos.emory.edu/files/original/a5a636a2a151602ad69ac4498dac3595.jpg ec9d8742fb3b4de81c047568b08d11f1 https://threads-of-time.carlos.emory.edu/files/original/122a9dd5bb0e197c65bbaa023a3b7d2a.jpg e0716abe065fd498da8d1bd9666eebeb https://threads-of-time.carlos.emory.edu/files/original/fd842a946bebf96f15ac903d464fd54a.jpg 6640fa1384c38cbfc4cefff640d7ebe7 https://threads-of-time.carlos.emory.edu/files/original/7093121749ee7f7b90f88bb37aefe604.jpg b8ea8dbb3c8087a6d59ecec382ba429f https://threads-of-time.carlos.emory.edu/files/original/410d1bd85ad63d5a94de1daa59fd8752.jpg fe464b1d9971fe2eb8de42fe4e20dd5b https://threads-of-time.carlos.emory.edu/files/original/9bf9f3a8c541fbd1ec73ef7a6c9e1bec.jpg 2dbe814e32f6a2fe4d9fac03e4e7405c Dublin Core 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/. Description An account of the resource Prior to treatment, the many fragments of the doublecloth fragments were stored in archival boxes. Source A related resource from which the described resource is derived Photo courtesy of Renée Stein https://threads-of-time.carlos.emory.edu/files/original/7dd22b283f61df01fdac952a22b4c1e9.jpg 25a1fdf22e4037d460bde3425b687896 Dublin Core 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/. Source A related resource from which the described resource is derived Photo courtesy of Renée Stein Subject The topic of the resource Before bathing, the water-sensitivity of dyes in doublecloth were tested. https://threads-of-time.carlos.emory.edu/files/original/a91a9e98e134dea3d599e724daef18eb.wav d5092c5461ada7cb8db97a494b7495bd Dublin Core 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/. Title A name given to the resource ayni Dublin Core 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/. Title A name given to the resource Ancient Peru Threads of Time Item This item type contains fields for the works in the Threads of Time exhibition. Geographic Area South America, Central Andes Culture Chancay Date Late Intermediate Period, ca. 1000–1470 AD Materials Cotton, camelid fiber Credit Line Ex coll. C. Clay and Virginia Aldridge Accession Number 2002.1.37A/B Exhibition Checklist Number This number will sort the collections. 312 Technical Notes Related notes on the object's conservation and treatment by Michael C. Carlos Museum objects conservator Renée Stein. 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. Former student interns Arden Davis and Rebecca Levitan produced a short online presentation about the cleaning project, called Ancient Laundry (<a href="http://carlos.emory.edu/conservation/case-studies/ancient-american/ancient-laundry-podcast">http://carlos.emory.edu/conservation/case-studies/ancient-american/ancient-laundry-podcast</a>). <iframe src="https://www.youtube.com/embed/wWN5bTXz514"></iframe> 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 <a href="/exhibits/show/conservation/project">The Threads of Time Conservation Project</a>. Photo Credit Photos by Michael McKelvey, 2017 Dublin Core 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/. Title A name given to the resource Doublecloth Fragments with Llamas and Herders Description An account of the resource 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. Further, the interdependence of humans and camels is true ayni. The llama is the large, domesticated New World camel, one of the ancestors of the Old World camels and dromedaries. Humans can only survive in the high altitude, dry climes of the Andes with the help of the hearty llamas and wooly alpacas. People depend on their abundant fur to make clothing to defy the cold night temperatures, meat for protein, dung for fuel, and sinews for ties, among other things. This piece shows herders with llamas on lead lines, bringing them from one pasture to another since time immemorial. https://threads-of-time.carlos.emory.edu/files/original/8a0ef6b127b2d57a04665eee9ea2bf5b.jpg bd49b7ebc08fa49ea9360462a309e672 Dublin Core 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/. Title A name given to the resource Ancient Peru Threads of Time Item This item type contains fields for the works in the Threads of Time exhibition. Geographic Area South America, Central Andes, North Coast Culture Chimú Date Late Intermediate Period, ca. 1000–1470 AD Materials Cotton, camelid fiber Credit Line Gift of Cora and Laurence C. Witten II Accession Number 1992.15.288 Exhibition Checklist Number This number will sort the collections. 314B Photo Credit Photo by Michael McKelvey Dublin Core 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/. Title A name given to the resource Ancient Andean Belt with Tassels Description An account of the resource 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 <a href="http://34.193.12.70/items/show/116">20th</a> and <a href="http://34.193.12.70/items/show/117">21st</a> 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. https://threads-of-time.carlos.emory.edu/files/original/650c083c56466a8698a9b08d05e8b34c.jpg 72b7f0234d647e5c0c0211c655cb9d3d https://threads-of-time.carlos.emory.edu/files/original/527503b90067674a4afc9fb274932690.wav 481dc0e7f8a1f946ba003b1a361559bc Dublin Core 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/. Title A name given to the resource Ancient Peru Threads of Time Item This item type contains fields for the works in the Threads of Time exhibition. Geographic Area South America, Central Andes, Central Coast Culture Chancay Date Late Intermediate Period, ca. 1000-1470 AD Materials Cotton Credit Line Ex coll. C. Clay and Virginia Aldridge Accession Number 2002.1.52 Exhibition Checklist Number This number will sort the collections. 312-17 Photo Credit Photo by Michael McKelvey, 2017 Dublin Core 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/. Title A name given to the resource Openwork Headcloth Fragment with Zigzags Description An account of the resource Unlike today’s synthetic dyes that can produce any color— whether dark, light, or even <a href="/items/show/129">florescent</a>—in pre-Industrial times certain hues and values (colors and their relative darkness) were more difficult to attain than others. Using natural indigo leaves to produce “navy” blue, as seen in this cotton textile that is between 600 and 1,000 years old, is a technical feat. Indigo is a colorant that only sits of the surface of fibers, particularly smooth cotton which lacks the scales of alpaca wool. Only repeated dipping and drying build up layers of blue on top of the thread; the dark, solid blue of the piece at left attests to many successful dippings. Specialists in dyeing with indigo existed among the Chancay textile artists, who pioneered this lacey openwork method as well. The challenges posed by indigo dyeing, and the difficulty in achieving a deep shade made blue the most prestigious color in ancient times. https://threads-of-time.carlos.emory.edu/files/original/bc13d10e3580beb72d8e5ed6b7e0f9b0.jpg 251d9715696f8587e8ad7d7b72ed6170 https://threads-of-time.carlos.emory.edu/files/original/7ee6e171a03923d782ef0144b95a0d6c.jpg dbe738556584025b2066e671c1c76564 Dublin Core 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/. Description An account of the resource The old mounting system for the openwork headcloth was taken apart and replaced. Source A related resource from which the described resource is derived Photo courtesy of Renée Stein Subject The topic of the resource Headcloth Unframing https://threads-of-time.carlos.emory.edu/files/original/e91fb20ee574704fe548671a5943c46e.jpg a96c04e1a1420873f96560746ad93334 https://threads-of-time.carlos.emory.edu/files/original/6fad33fe15f9d256060567ee605e0543.wav d5092c5461ada7cb8db97a494b7495bd Dublin Core 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/. Title A name given to the resource ayni Dublin Core 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/. Title A name given to the resource Ancient Peru Threads of Time Item This item type contains fields for the works in the Threads of Time exhibition. Geographic Area South America, Central Andes, Central Coast Culture Chancay Date Late Intermediate Period, ca. 1000-1470 AD Materials Cotton Credit Line Gift of William C. and Carol W. Thibadeau Accession Number 1989.8.163 Exhibition Checklist Number This number will sort the collections. 312-16 Technical Notes Related notes on the object's conservation and treatment by Michael C. Carlos Museum objects conservator Renée Stein. The headcloth is mounted directly under a plexi-glass cover that holds the lace-like weave open so that the pattern can be seen. Layers of padding on the aluminum support panel cushion the textile against pressure from the overlying plexi-glass cover. The dark brown fabric provides contrast to the undyed cotton threads. This mounting system replaces a previous pressure mount that was very large and heavy, constructed from solid wood and multiple layers of plexiglass. The new mounting system will house the textile in storage as well as for future examination and display. For more conservation information, please see <a href="/exhibits/show/conservation/project">The Threads of Time Conservation Project</a>. Photo Credit Photo by Michael McKelvey, 2017 Dublin Core 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/. Title A name given to the resource Openwork Headcloth with Bird and Snake/Feline Description An account of the resource The textile artists of the ancient Andes, such as the Chancay of the central coast, invented nearly every known fiber-working technique, including the unique embroidered openwork seen at left and right. While it may resemble lace, it is first loosely woven in an overall grid and then certain squares are crisscrossed with extra thread using a needle (Drawing A). This is all done with single-ply thread, the thinnest possible cotton that is spun in one direction but plied with another to make a strong, straight yarn. Single-ply thread is notoriously weak and tends to kink up, therefore it is rarely used and only by virtuoso fiber artists. This piece embodies ayni, reciprocity, at all levels. There is a slightly thicker line up the middle, as if the headcloth were made in two parts and joined; however, it was not made that way, this illusion of duality merely follows the cultural imperative to have one thing that is really two. There are two motifs but three different referents. All the figures have thicker x-shapes for their eyes. The birds represent the Peruvian Pelican (Pelicanus thagus) or the Brown Pelican (Pelicanus occidentalis), the characteristic long beak held diagonally. Two completely interlock with one another in pairs, their necks elongated and feathers abstracted into triangles (Drawing B). The other pattern has two readings: upright it is feline with pointed ears (the element coming up between them is a crest of hair characteristic of Pampas Cats); upside down it is a snake, with an open mouth and forked tongue (Drawing C). This cat-snake is a common motif in art of the Late Intermediate Period (1000–1470 ad). To have two basic motifs and then two readings of one of them https://threads-of-time.carlos.emory.edu/files/original/71456fa29f1309a500635e608dabf2e3.jpg c317731d7578e427c1a2c3e12ba56803 https://threads-of-time.carlos.emory.edu/files/original/ae0be4166ee27904ae7b6924559748dd.JPG 7422063df82b68563bcee4480b45d5d1 Dublin Core 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/. Description An account of the resource Textile Conservator Patricial Ewer stitched each of the 220 pendant cords of this khipu to a wrapped support board. Source A related resource from which the described resource is derived Photo courtesy of Renée Stein https://threads-of-time.carlos.emory.edu/files/original/c0dedfb496ef0ee01ed40c3a42b4ec17.jpg 3f9eb8fdd5e595621b5554cc6d8f5adb Dublin Core 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/. Description An account of the resource Boards made from aluminum panel or archival cardboard are padded and wrapped in cotton cloth. Source A related resource from which the described resource is derived Photo courtesy of Renée Stein https://threads-of-time.carlos.emory.edu/files/original/10e93d8a770fbf62f1b5b95872d78e5c.jpg 217b207de6ceed1acc898637a716ae5e Dublin Core 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/. Source A related resource from which the described resource is derived Image courtesy of the Royal Library, Copenhagen Subject The topic of the resource 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). https://threads-of-time.carlos.emory.edu/files/original/4eabca9f20f8ada0fe3e0307a737bdbc.wav 797c77472b714c7d98aebb31ea3dcd0b Dublin Core 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/. Title A name given to the resource khipu Dublin Core 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/. Title A name given to the resource Ancient Peru Threads of Time Item This item type contains fields for the works in the Threads of Time exhibition. Geographic Area South America, Central Andes Culture Inka/Neo-Inka Date Early Colonial ca. 1489-1652 AD Materials Cotton Credit Line Ex coll. C. Clay and Virginia Aldridge Accession Number 2002.1.118 Exhibition Checklist Number This number will sort the collections. 312-06 Technical Notes Related notes on the object's conservation and treatment by Michael C. Carlos Museum objects conservator Renée Stein. 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 <a href="/items/show/44">Wari-related tapestry fragment</a>, 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 <a href="/exhibits/show/conservation/project">The Threads of Time Conservation Project</a>. Photo Credit Photo by Bruce M. White, 2011 Dublin Core 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/. Title A name given to the resource Decimal Khipu (Knot Writing Device) Description An account of the resource 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. While it still could predate the 1534 conquest, a number of unusual features in comparison to solidly Inka ones (<a href="/items/show/50">a single-strand</a> and a <a href="/items/show/49">polychrome</a>) 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). Introduction https://threads-of-time.carlos.emory.edu/files/original/d3cb4d9db5ffee6150acffacd5fc2051.jpg 2966ed10380c56970a9ca8ec4cc2a64f https://threads-of-time.carlos.emory.edu/files/original/86da9fe1d4ac58e303715d68e2f00104.jpg 48a93af6389fb592a218a345a60566ab Dublin Core 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/. Description An account of the resource Only a small sample is needed for fiber microscopy and dating. Source A related resource from which the described resource is derived Photo courtesy of Renée Stein Subject The topic of the resource Single-Strand Khipu Wrapping Detail https://threads-of-time.carlos.emory.edu/files/original/8118861ab9e439491b188db3d343c121.jpg 853b8fa079152f0d911629a3a27052c4 Dublin Core 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/. Description An account of the resource Only a small sample is needed for fiber microscopy and dating. Source A related resource from which the described resource is derived Photo courtesy of Renée Stein Subject The topic of the resource Single-Strand Khipu Dating Sample https://threads-of-time.carlos.emory.edu/files/original/b5f0c282626401bb4c7816e8d0be06c9.wav 797c77472b714c7d98aebb31ea3dcd0b Dublin Core 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/. Title A name given to the resource khipu Dublin Core 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/. Title A name given to the resource Ancient Peru Threads of Time Item This item type contains fields for the works in the Threads of Time exhibition. Geographic Area South America, Central Andes Culture Inka/Neo-Inka Date Late Horizon/Early Colonial, ca. 1508-1652 AD Materials Plant fiber (furcraea andina) Credit Line Ex coll. C. Clay and Virginia Aldridge Accession Number 2002.1.40 Exhibition Checklist Number This number will sort the collections. 312-05 Technical Notes Related notes on the object's conservation and treatment by Michael C. Carlos Museum objects conservator Renée Stein. 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 <a href="/items/show/1">Feather Fan</a>. 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 <a href="/exhibits/show/conservation/project">The Threads of Time Conservation Project</a>. Photo Credit Photo by Bruce M. White, 2011 Dublin Core 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/. Title A name given to the resource Single-Strand Khipu (Knot Writing Device) Description An account of the resource 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 <a href="/items/show/51">mono</a>- and <a href="/items/show/49">polychrome</a> 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. The 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. All 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. Introduction https://threads-of-time.carlos.emory.edu/files/original/0e856de42ed4d875d925d6d895be91ff.jpg 45bfe382720b7a5d9c20fa088f253e66 https://threads-of-time.carlos.emory.edu/files/original/ec43cf093668b2f3080b6726ad6ec481.jpg 1aac317330a4e2c2b8504a6dba9c2f06 https://threads-of-time.carlos.emory.edu/files/original/3621ff3925aa3616bc3c0b13bbb7b0cf.wav 797c77472b714c7d98aebb31ea3dcd0b Dublin Core 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/. Title A name given to the resource khipu Dublin Core 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/. Title A name given to the resource Ancient Peru Threads of Time Item This item type contains fields for the works in the Threads of Time exhibition. Geographic Area South America, Central Andes, Central Coast Culture Inka Date Late Horizon, ca. 1430-1534 AD Materials Cotton Credit Line Ex coll. C. Clay and Virginia Aldridge Accession Number 2002.1.130 Exhibition Checklist Number This number will sort the collections. 312-04 Photo Credit Photo by Bruce M. White, 2016 Dublin Core 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/. Title A name given to the resource Polychrome Khipu (Knot Writing Device) Description An account of the resource 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 (<a href="/items/show/51">multi</a>- and <a href="/items/show/50">single-strand</a>) that helped the Inka conquer more than 3,000 miles of territory and twelve million subjects in less than a century (1428–1534 AD). In 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. Though 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 Introduction https://threads-of-time.carlos.emory.edu/files/original/e628706c0597cd45436de555e7cba154.jpg fee52d0f8d969d67303017024e80685f https://threads-of-time.carlos.emory.edu/files/original/eb104515bed81cb3870df48feee4424c.wav d5092c5461ada7cb8db97a494b7495bd Dublin Core 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/. Title A name given to the resource ayni Dublin Core 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/. Title A name given to the resource Ancient Peru Threads of Time Item This item type contains fields for the works in the Threads of Time exhibition. Geographic Area South America, Central Andes, Central Coast Culture Chimú Date Late Intermediate Period, ca. 1100-1470 AD Materials Cotton, camelid fiber Credit Line Gift in memory of John C. and Nora Wise Accession Number 2002.8.1 Exhibition Checklist Number This number will sort the collections. 312-02 Photo Credit Photo by Bruce M. White, 2013 Dublin Core 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/. Title A name given to the resource Textile with Pelican Shaman Description An account of the resource This brocaded cloth features a supernatural pelican-man. Still bright after over five hundred years, scarlet highlights the standing figure’s face and the many little pelicans that sit on his arms and emerge magically from/as his body. The two slightly different reds in the face area show that this textile was made in two parts later sewn together; this additive process was certainly not concealed. This piece was one of at least four matching panels (now held in the Metropolitan Museum of Art and the Cleveland Museum of Art). The piecemeal assembly process was employed by the Chimú Empire, with different subjects involved in the production of a single luxury item given as tribute to royalty and elites. One person made one half of this piece, another the other, with the seam and the slight mismatch between the parts as evidence of their distinct contributions. In addition, showing the two parts combining to make a single figure embodies an important idea that runs through Andean culture and thought: ayni, or the dualistic relationship of one part to another to make up a balanced whole. Two half-faces coming together, even if not perfectly, embodies this idea visually. Ayni is not only found in art, but is basic to human survival in the Andean environment, where reciprocal helping of others is the only way to thrive in the various altitudes and ecozones. Introduction https://threads-of-time.carlos.emory.edu/files/original/825d6f7ec93248d95c516b841f249133.jpg 6ba876e773411111ad04049e151cc991 https://threads-of-time.carlos.emory.edu/files/original/2cd2d8205dceb8f45d0b3626f9ea00c6.wav 9c5981c6852a6952d6be08c25ee59eff Dublin Core 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/. Title A name given to the resource Ancient Peru Threads of Time Item This item type contains fields for the works in the Threads of Time exhibition. Geographic Area South America, Central Andes, Northern Coast Culture Chimú Date Late Intermediate Period, ca. 1000-1470 AD Materials Cotton, camelid fibers Credit Line Anonymous gift Accession Number 2003.40.14 Exhibition Checklist Number This number will sort the collections. 312-38 Photo Credit Photo by Michael McKelvey Dublin Core 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/. Title A name given to the resource Textile Fragment with Color Anomaly Description An account of the resource Although this piece is also only part of a larger composition, nevertheless it is very revealing. Here the intentional color surprise is the bright pink background for the yellow bird toward the top right corner. No other instance of such a color is found in that row or the other. Such q'iwas exist in many ancient Andean works from 500 AD onward. https://threads-of-time.carlos.emory.edu/files/original/6531af3f212d1dbdd3118203baeaafd3.jpg 87d4e071c800b46c5cb2c26648fd761c https://threads-of-time.carlos.emory.edu/files/original/aaafd0bb9194afbc6d5e9e486c2a1a53.jpg d83315f74058e854523f676ca70f00d9 Dublin Core 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/. Description An account of the resource New threads were inserted into the warp channels during treatment. Source A related resource from which the described resource is derived Photo courtesy of Renée Stein https://threads-of-time.carlos.emory.edu/files/original/fea4e3728c0383fb2644987a816d205d.wav 9c5981c6852a6952d6be08c25ee59eff Dublin Core 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/. Title A name given to the resource Ancient Peru Threads of Time Item This item type contains fields for the works in the Threads of Time exhibition. Geographic Area South America, Central Andes, South Coast Culture Wari Date Middle Horizon, ca. 500-800 AD Materials Cotton, camelid fiber Credit Line Ex coll. C. Clay and Virginia Aldridge Accession Number 2002.1.127 Exhibition Checklist Number This number will sort the collections. 312-37 Technical Notes Related notes on the object's conservation and treatment by Michael C. Carlos Museum objects conservator Renée Stein. This fragment from a Wari tapestry tunic fragment was essentially coming unwoven because many warps were broken and deteriorated. Conservator Patricia Ewer developed a technique to insert small lengths of new warps, using a very fine needle and polyester or cotton threads. She re-aligned the weft threads and secured the fragment to the fabric covering on the support panel with almost invisible stitches, called “couching.” Because the object is stitched directly to the fabric covering, the support panel will serve as the permanent mount for the stabilized fragment. The support was made from an aluminum panel that was padded with polyester batting and wrapped with cotton display fabric. For more conservation information, please see <a href="/exhibits/show/conservation/project">The Threads of Time Conservation Project</a>. Photo Credit Photo by Bruce M. White, 2016 Dublin Core 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/. Title A name given to the resource Tapestry Tunic Fragment with Faces Description An account of the resource A fragment of a Wari tapestry tunic was originally along the side seam of a four-foot square garment. However, even this small fragment illustrates several important concepts and aesthetic choices made over 1300 years ago in the Andes. The embroidered joining of the two parts has changing colors that do not blend in with the woven patterns; this is one of this piece’s subtle q’iwas, or purposeful variations. Several different dyelots (separate dyeing sessions yielding slightly different shades) of indigo blue are also apparent. Striping is almost universal when dyeing with this notoriously difficult colorant; its visual variations were embraced. Indigo is unique in that the blue color only appears when the thread hits the air as it is pulled from the dye vat. This unpredictable, trickster character, indigo itself, embodies the unexpected. Though the experienced indigo dyer may perform the same steps, the color will sometimes not even adhere to the thread at all. Therefore, blue is inherently unpredictable, it is q'iwa itself.