1 10 254 https://threads-of-time.carlos.emory.edu/files/original/a2778c4d6e93137a12e93cd74db343c9.jpg 674acceb9ee9b830fa41b1408eb41008 https://threads-of-time.carlos.emory.edu/files/original/7fbd0f57bc3cb1939ad3c4cfc783ed8a.jpg e3c59255e046e212968ff1cea21578be 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 This image of the fiber cross-section was taken through a transmitted light microscope at approximately 20x magnification. Source A related resource from which the described resource is derived Photo courtesy of Renée Stein Subject The topic of the resource Feather Fan-Cross Section 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 Materials Cotton, plant fiber (furcraea andina), feathers Exhibition Checklist Number This number will sort the collections. 312-32 Culture Chimú Date Late Intermediate Period, calibrated Carbon-14 date 1282-1384 AD Credit Line Gift of Katherine Kelly Accession Number 1992.21.1 Technical Notes Related notes on the object's conservation and treatment by Michael C. Carlos Museum objects conservator Renée Stein. 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 <a href="/items/show/50">single khipu strand</a>, 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 <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 Feather Fan Description An account of the resource 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. Because 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. https://threads-of-time.carlos.emory.edu/files/original/4fc6a3f6514d8b245982212da5bd7af3.jpg 040c0eeaa0bc294fa7197b0bef153a3b https://threads-of-time.carlos.emory.edu/files/original/ad9c079f2e4b16a947638e0c85878fd9.jpg 8c9372162b77366b3bddb2950de4b718 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 Modern Panama Threads of Time Item This item type contains fields for the works in the Threads of Time exhibition. Geographic Area Central America, Guna Yala (San Blas Islands/North Coast of Panamá) Culture Guna Date 20th century Materials Cotton Credit Line Lent by Gail and Clark Goodwin Accession Number L2016.24.1A, L2016.24.1B Catalogue Entry Catalogue entry for the object Dulemolaguna (the plural of one dulemola, a cutwork panel) are panels set into indigenous Guna women's blouses, one in the front and one in the back. These two panels share a color scheme and general patterning; however, they do not strictly match each other. In handmade pieces such as these it would be challenging to make two exactly the same, although the talented Guna artists are capable of doing so if desired. Yet it is more typical for a pair to feature the kind of creative differences seen here: the top one with its upper sets of spirals making diamonds and the bottom one with a pin-wheeling set of four in its lower left corner. This makes a blouse more interesting and shows the artist’s design prowess. One has been turned over to show the back face, highlighting the red and turquoise layers of cloth and clearly showing the sewing pattern of the red thread. Two-color, geometric dulemolaguna are known as “grandmothers,” revered as the earliest type but still widely made today. Exhibition Checklist Number This number will sort the collections. 314A 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 Dulemolaguna (Blouse Panels) with Spiral Patterns https://threads-of-time.carlos.emory.edu/files/original/3720ba2203921213bab57987a9d3e30c.jpg 1dab036dcbfd71b25a39103144d72ceb https://threads-of-time.carlos.emory.edu/files/original/1589145baf4737542ed651885363a248.wav f5d62e0116c84906c0d04357c3cf8171 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 dulemola https://threads-of-time.carlos.emory.edu/files/original/ec093fc291206354897e23bbc6f06b0d.wav 2601fd73f5498940e8e10b8e8053b04c 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 Paliwiduru 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 Modern Panama Threads of Time Item This item type contains fields for the works in the Threads of Time exhibition. Geographic Area Central America, Guna Yala (San Blas Islands/North Coast of Panamá) Culture Guna Date Early 21st century Materials Cotton Credit Line Museum purchase Accession Number 2013.42.2 Exhibition Checklist Number This number will sort the collections. 312-07 Catalogue Entry Catalogue entry for the object Writing is incorporated into this contemporary cut-and-sewn dulemola made by the Guna people from the northern coast and Caribbean islands off Panamá. In the top center a version of the letters “IHS” can be seen, the monogram abbreviated from IHΣΟΥΣ, Greek for “Jesus.” However, it is important to note that the Christogram is shown backwards. The other imagery in this piece helps to explain why this might be so. Although they may look like Christian angels, the two winged, kneeling figures flanking the letters also have eagle heads and deer antlers. The Guna call these spiritual beings Paliwiduru and they believe that they call the soul of the recently deceased out of his or her body, instructing it on how to begin its afterlife journey. Thus, the artist of this piece has combined Christian elements with those of the ongoing indigenous religion. The letters for Jesus, whom the missionaries have told the Guna they will meet after death, are probably shown reversed to indicate that the scene with the Paliwiduru is taking place on the Other Side, in the Land of the Dead. In indigenous American cosmology, the afterlife is a reversed realm relative to the world of the living. Since the scene is looking from the point of view of “the Beyond,” the name of Jesus is written backwards. Although the missionaries and colonists imposed their system of writing and religion on the Guna, indigenous people incorporated it into their pre-existing worldview. European-style letters, and angels in Heaven are eclipsed by the overriding traditional concept of the Paliwiduru. 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 Dulemola (Women's Blouse Panel) with Paliwiduru (Eagle Spirits) Description An account of the resource Writing is incorporated into this contemporary cut-and-sewn dulemola made by the Guna people from the northern coast and Caribbean islands off Panamá. In the top center a version of the letters “IHS” can be seen, the monogram abbreviated from IHΣΟΥΣ, Greek for “Jesus.” However, it is important to note that the Christogram is shown backwards. The other imagery in this piece helps to explain why this might be so. Although they may look like Christian angels, the two winged, kneeling figures flanking the letters also have eagle heads and deer antlers. The Guna call these spiritual beings Paliwiduru and they believe that they call the soul of the recently deceased out of his or her body, instructing it on how to begin its afterlife journey. Thus, the artist of this piece has combined Christian elements with those of the ongoing indigenous religion. The letters for Jesus, whom the missionaries have told the Guna they will meet after death, are probably shown reversed to indicate that the scene with the Paliwiduru is taking place on the Other Side, in the Land of the Dead. In indigenous American cosmology, the afterlife is a reversed realm relative to the world of the living. Since the scene is looking from the point of view of “the Beyond,” the name of Jesus is written backwards. Although the missionaries and colonists imposed their system of writing and religion on the Guna, indigenous people incorporated it into their pre-existing worldview. European-style letters, and angels in Heaven are eclipsed by the overriding traditional concept of the Paliwiduru. Introduction https://threads-of-time.carlos.emory.edu/files/original/6808c3aabc780ee43cb0ad50443a4c58.jpg 9daeb577baa600aa3f6335c01ea19195 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 Modern Guatemala Threads of Time Item This item type contains fields for the works in the Threads of Time exhibition. Geographic Area Central America, Guatemala, Totonicapán Culture Maya Materials Cotton Credit Line Bright Collection of Guatemalan Textiles Accession Number 2009.42.13 Exhibition Checklist Number This number will sort the collections. 312-08 Date 20th century Catalogue Entry Catalogue entry for the object When indigenous Americans were forced to adapt to European ways, one of the most novel ones was alphabetic writing. In a famous incident, Bishop Diego de Landa attempted to make a Maya scribe write their “alphabet” by saying the names of letters in Spanish: “ah” for “a,” “bay” for “b,” etc. Since the Maya mainly drew glyphs for words or for syllables, the poor scribe did his best to translate the strange request. In Mayan “ah” was the word for water, so he drew that hieroglyph, and so on. Both parties finally stopped in frustration, the scribe adding a sentence of complaint at the bottom “I don’t want to do this anymore.” Though the experiment in cross-cultural communication seemed a failure at the time, this table of glyphs and his comment actually helped modern scholars decipher the Maya hieroglyphic system beginning in the 1960s. Centuries later, this Maya textile ingeniously incorporates Western words, now a prestigious appropriation of the foreign writing. In strings that were tied-dyed before they were woven, quite a technical and design feat, the weaver has spelled out a name: Mateo Yax. Mateo is Spanish for Matthew, while Yax is a time period in the Maya solar calendar (January 22–February 10). Individuals born during this time are considered gentle, peaceful, and harmonious. Thus, this man’s name blends the new and the old, a man living in the ex-colony of Spain and sharing a first name with the colonizers, yet simultaneously claiming ancient and ongoing Maya heritage. The surname being Maya links him to his origins through his father’s line, the way descent was claimed in both the ancient Maya and modern Spanish worlds. The weaver, most likely a woman, created this extraordinary cross-cultural mix of writing and ideas to celebrate a man between two worlds. 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 Servilleta (Napkin) Inscribed with Mateo Yax’s Name Introduction https://threads-of-time.carlos.emory.edu/files/original/54ba46c08497e627b3c74685c9a28512.jpg 3afaddc4c18c60099d4af76493aa6dbc https://threads-of-time.carlos.emory.edu/files/original/78b91e59268ae1b5f42d39f71f777889.jpg 2baf0c7d55e2b6bd33fb186b0420fb0a https://threads-of-time.carlos.emory.edu/files/original/28551cf382728e70e01effca851a465f.jpg 303c9247158a86d86be67e05a0ebede7 https://threads-of-time.carlos.emory.edu/files/original/b8ae7f5f14ec5987d3892da353a4ec44.wav d1a3ea60df1406788d4449088c638ded 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 qumpi https://threads-of-time.carlos.emory.edu/files/original/c8dc0f583b1dcd01012d09a4ee121325.wav 5d59c565ad10bdbacfef550e22c55bb4 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 ukhu 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 Reed, cotton, camelid fiber Credit Line Ex coll. C. Clay and Virginia Aldridge Accession Number 2002.1.147 Exhibition Checklist Number This number will sort the collections. 312-09 Photo Credit Photo by Bruce M. White, 2014 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 Female Figure Description An account of the resource 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. Effigy 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. Another 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. https://threads-of-time.carlos.emory.edu/files/original/1032a570d4038f48ec171816845e376d.jpg 90ba261e893bde6f68e6ea30a8ef7f22 https://threads-of-time.carlos.emory.edu/files/original/ac2a4e3120854936ecaf03c8749ed648.jpg f259225f57c037d784fd3b036c7626b3 https://threads-of-time.carlos.emory.edu/files/original/92122d3ede42dc10c7a24109fb7b6567.jpg 1f658b6d2b686678771d37ace0c91bbf https://threads-of-time.carlos.emory.edu/files/original/1f9e58566ba18c6af60bbf5c8d74984a.jpg 5d4d409b0118828bd0c07d0af3d77e43 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 complex weave structure includes a voided grid pattern with added tassels and disks. 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/4a42083b6c129ce721439717fda57255.jpg 2865d58c64bef39ec0e582c6b8012851 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 sheer nylon backing is visible on top of fabric-wrapped support board along the upper edge of this detail image. 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/2c2db80297ed36388438daed1c9513ad.wav a2503be17158b935d115297c30f4be10 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 Quechua https://threads-of-time.carlos.emory.edu/files/original/5cb657cb43d29b9b5b39d0a40c1bacac.wav 5d59c565ad10bdbacfef550e22c55bb4 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 ukhu https://threads-of-time.carlos.emory.edu/files/original/88014c5c7a3b6e308bf31f9d02df0baa.wav 510973ea68033b6d612bccba28662c8f 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 cochineal 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 Pacatnamú Date Late Intermediate Period, ca. 900-1300 AD Credit Line Gift of Cindy Karp Accession Number 2004.64.1A (larger fragment) 2004.64.1B (smaller fragment) Exhibition Checklist Number This number will sort the collections. 312-10 Technical Notes Related notes on the object's conservation and treatment by Michael C. Carlos Museum objects conservator Renée Stein. 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. For more conservation information, please see <a href="/exhibits/show/conservation/project">The Threads of Time Conservation Project</a>. Materials Cotton, camelid fiber Photo Credit Photos by Bruce M. White, 2008 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 Red Tasseled Tunic Fragments Description An account of the resource 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. The 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. This 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. https://threads-of-time.carlos.emory.edu/files/original/6276865b2edca8494abcfb7214eb61f7.jpg 2508423ef5f6aeda0aff9ffff9e7c878 https://threads-of-time.carlos.emory.edu/files/original/d050c80ee0a8fed1eb06762cde5c1ad5.wav 37a837ed58b5b210582da7773966810b 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 tumi https://threads-of-time.carlos.emory.edu/files/original/08c41ed872ccfd95e471af3552313db5.wav 5d59c565ad10bdbacfef550e22c55bb4 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 ukhu 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 Date Late Horizon, ca. 1428-1534 AD Materials Bronze (copper tin alloy) Credit Line Gift of William C. and Carol W. Thibadeau Accession Number 1989.8.51 Exhibition Checklist Number This number will sort the collections. 312-11 Technical Notes Related notes on the object's conservation and treatment by Michael C. Carlos Museum objects conservator Renée Stein. Metal objects, (see also <a href="http://34.193.12.70/items/show/14"></a><a href="http://34.193.12.70/items/show/15">Sicán </a><a href="http://34.193.12.70/items/show/15">Tumi</a> and <a href="http://34.193.12.70/items/show/16">Earspools</a>), 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 <a href="/exhibits/show/conservation/project">The Threads of Time Conservation Project</a>. 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 Tumi (Ceremonial Knife) with Llama Head Description An account of the resource 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 <a href="http://34.193.12.70/items/show/15">Sicán tumi</a> 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 <a href="http://34.193.12.70/items/show/16">earspools</a> 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. https://threads-of-time.carlos.emory.edu/files/original/c6e840429bdd1fd9f386f7ccdcb4abb9.jpg 4f1186c7d801af79aee592137931cda8 https://threads-of-time.carlos.emory.edu/files/original/43e75a27294a4cb620e000f1a52afb92.jpg ec1f228070ffe8f5ccaefbc89e852d4b https://threads-of-time.carlos.emory.edu/files/original/4084b5d5e9490e36f155f0c9d510da46.jpg dbd20ddb2a586d36f59a826a5094e8b6 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 weave pattern is preserved in the corrosion on the tumi in shape of Sicán lord. Source A related resource from which the described resource is derived Photo courtesy of Renée Stein Subject The topic of the resource Sicán Tumi Metal Corrosion https://threads-of-time.carlos.emory.edu/files/original/f1bea7803400b59fb9b29b579982064a.wav 37a837ed58b5b210582da7773966810b 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 Tumi https://threads-of-time.carlos.emory.edu/files/original/5e721ce97dba5657329639e3e1aefff4.wav 5d59c565ad10bdbacfef550e22c55bb4 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 ukhu 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 Sicán Date Late Intermediate Period, Middle Sicán, 1050-1100 AD Materials Bronze (copper arsenic alloy) Credit Line Gift of Cora W. and Laurence C. Witten II Accession Number 1994.18.33 Exhibition Checklist Number This number will sort the collections. 312-12 Technical Notes Related notes on the object's conservation and treatment by Michael C. Carlos Museum objects conservator Renée Stein. Metal objects, (see also <a href="http://34.193.12.70/items/show/14">Llama </a><a href="http://34.193.12.70/items/show/14">Tumi</a> and <a href="http://34.193.12.70/items/show/16">Earspools</a>), 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 <a href="/exhibits/show/conservation/project">The Threads of Time Conservation Project</a>. 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 Tumi (Ceremonial Knife) in the Form of the Sicán Lord Description An account of the resource 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. A later <a href="/items/show/14">Inka tumi</a> shows 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. This large knife in anthropomorphic form is almost completely covered with pseudomorphs, showing how completely it was wrapped. Sometimes fragments of the actual ancient cloth survive within the corrosion, as seen on <a href="/items/show/16">earspools</a> 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. https://threads-of-time.carlos.emory.edu/files/original/46b02396a53c0b42e3104862f48d59ef.jpg d8bf918bf245d714dc4e0adf1976a82e https://threads-of-time.carlos.emory.edu/files/original/22077a91042bc84aea22c03e0321d7ba.jpg 9d4c83ec0fa063fcf0b376eff4f52244 https://threads-of-time.carlos.emory.edu/files/original/0a91a0af010fa83a14519bc3da69a6fd.jpg 8738969d0a704b9cc487386c90e6c3a0 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 Cotton fibers are trapped in the corrosion products on an earspool. Source A related resource from which the described resource is derived Photo courtesy of Renée Stein Subject The topic of the resource Earspool Metal Corrosion and Fibers https://threads-of-time.carlos.emory.edu/files/original/e0486902c1f5a6ef66d0a5bb66c90dbe.wav 37a837ed58b5b210582da7773966810b 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 tumi https://threads-of-time.carlos.emory.edu/files/original/e93eca193c4fa8558b746d780f718e0b.wav 5d59c565ad10bdbacfef550e22c55bb4 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 ukhu 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 Moche Date Early Intermediate Period, ca. 1-650 AD Materials Gilded copper alloy Credit Line Gift of Cora W. and Laurence C. Witten II Accession Number 1992.15.274 A/B Exhibition Checklist Number This number will sort the collections. 312-13 Technical Notes Related notes on the object's conservation and treatment by Michael C. Carlos Museum objects conservator Renée Stein. Metal objects, (see also <a href="/items/show/14">Llama </a><a href="http://34.193.12.70/items/show/14">Tumi</a> and<a href="/items/show/15"> Sicán Tumi</a>), 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 <a href="/exhibits/show/conservation/project">The Threads of Time Conservation Project</a>. 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 Earspools with Spider Motif Description An account of the resource 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 <a href="/items/show/14">Inka tumi</a> and <a href="/items/show/15">Sicán tumi</a> (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. https://threads-of-time.carlos.emory.edu/files/original/48560ddf875eb1747e205f1d4e2e831f.jpg 204aafb4bcd47da4c72a97d0d6fbf72e https://threads-of-time.carlos.emory.edu/files/original/dece513e2238a928a4822aa4710d35a6.jpg d09dde342320c76ce143ab43e12fa5d7 https://threads-of-time.carlos.emory.edu/files/original/f87807812987da71bd21ab895c465d8b.jpg 42f145dae027e6d2d94301cd7b27d81b https://threads-of-time.carlos.emory.edu/files/original/99c376270b0462addcb68d0f29f85d90.jpg fd08516973148f318ee0d1312275fdf1 https://threads-of-time.carlos.emory.edu/files/original/8dc1b13db9635f78db574136e2c0ad09.jpg 4ea10089833c38a30e6adc5de511e1d9 https://threads-of-time.carlos.emory.edu/files/original/516f242fcb9396b64c3627fb2ef0602d.jpg 86a45b44a45e53dff8d2d3b0320f6883 https://threads-of-time.carlos.emory.edu/files/original/f1c065b1c98797acf5cbbda854dd5f52.jpg b95d4f6b31aca262749b5c552ab75b39 https://threads-of-time.carlos.emory.edu/files/original/246a92b972ca6f9790f6adad0bc8b56d.jpg 568ba6a1836fc5ee5b5274887c480d94 https://threads-of-time.carlos.emory.edu/files/original/ec2e95215f20cb532b7c327f5815eeae.wav 5d59c565ad10bdbacfef550e22c55bb4 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 ukhu https://threads-of-time.carlos.emory.edu/files/original/cb0c2fe7a585ea489ea72d88d2884979.wav 63f9132b5e49b263b14ba2a2f24f29f2 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 q'epi 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. 1000-1450 AD Materials Cotton Credit Line Gift of John Howe Accession Number 2003.32.1A (Outer Bundle Wrapping Cloth) 2003.32.1F (upper left) 2003.32.1Q (upper right) 2003.32.1B (lower right) 2003.32.1P (lower left) Exhibition Checklist Number This number will sort the collections. 312-14 Photo Credit Photos 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 Bundle of Miniature Textiles Description An account of the resource 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. This 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 <a href="/items/show/75">workbaskets</a>). Miniature textiles are also buried with fiber female effigies. The 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. Why 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.