WEAVING IN PERU

history because it has been . They

find language, through symbols EU
and narrate the daily life of the so that
diver developed here more than 6 thousand
They
years ago. They developed here that most
 BACKGROUND

► In Andean sociopolitical life, textiles played

a special role that went far beyond their
merely utilitarian and ornamental uses.
► The loom is made up of threads arranged
in two ways that can be combined with
each other. The combination with each
other,
► There are numerous varieties of weaving;
for example, a warp can be combined with
a weft, in parallel series; or two warps with
a weft or two wefts with a warp.
• .
• In the Paleolithic, man used more or less
rudimentary fabrics to protect himself from
the elements.

• Experiments carried out in Peru have shown,

for example, that there are twenty to forty
native plants whose roots, stems, leaves or
bark are capable of producing between 10
and 20 shades of red, blue, yellow, black,
brown, purple

* The same fabric served as a base to

embellish the garment by applying
ornamental figures.

1
 Techniques for the elaboration of textiles

Fragment with geometric and anthropomorphic decoration:

square heads arranged in a band, diamond motifs and stylized
plumes ending in a snake's
designs. head. Filling squares
with stitches.
Technique: WEFT FACE

Technique:
KNOTTED

Fragment, three-band design in the center.

figuresescakonadasenls

extremes
 Technique: WARP FACE

| Polychrome
fragments with
designs of leimos
and birds framed in
lists and bands. With
various measures.
Technique: DOUBLE
FABRIC
Fan. fif&das in vegetable fiber tranches,
fastened with cotton cords
/ Vent. OTHERS
Types of fibers of animal and vegetable origin

For the production of their textiles they used materials including:

We have the use of animal and vegetable fibers:
► Woolofsheep
► Woolofalpaca.
► Woolofcalls
► Woolofvicuna
Vegetable fibers
Cotton, ❖ linen ❖
hemp ❖ jute ❖ ramie ❖

phormium ❖ abaca
HUACA PRIETA (6000-2500 BC) C.)
□ First record of weaving in Junius Bird
Peru. examining
textile, botanical
□ Discovered by and cordage
specimens at
archaeologist Junius Bird Huaca Prieta.
in 1946 and dating back to
6000 BC. C.
□ TECHNIQUES: knotting and
interlacing Huaca Prieta
textile with a

□ FORMS: Bags, cloths and design of a

condor with a
mats (carpets). snake coiled
around its belly.
□ RAW MATERIAL: Cotton.
CUPISNIQUE (1500-200 BC)

□ RAW MATERIAL: Natural

fibers.
□ DESIGNS: repetitive
geometric shapes.
□ TECHNIQUES: Tapestry,
eccentric weave and
Cupisnique fabric tongue and groove weave.
□ COLORS: Red, ochre and
white.
 CHAVIN (800-200 BC)
* RAW MATERIAL: Cotton and camelid wool.
❖ TECHNIQUES: Lace, interlacing and openwork.
❖ COLORS: Earth tones; red-orange, brown of various shades, olive green and
blue.
❖ DESIGNS: Divinities

Fragment of
painted cloth
 PARACAS (700 BC-200 AD)
❖ Considered one of the most beautiful, finest and sophisticated in the
world.
Mantle
❖ RAW MATERIAL: Cotton and vicuña wool.
Paracas ❖ TECHNIQUES: Simple warp and weft, use of brocade and embroidery,
needle weaving, gauze decorations, simple and painted fabrics,
embroidered fabrics, twisting and braiding.
❖ DYEING: With seven colours and up to 190 shades using mineral and
vegetable pigments.

Fragment of
a net bag
❖EMBROIDERY: gold or silver threads, sequins, human hair, bat or vizcacha hair, and feathers. Unku with
fringes,
❖DESIGNS:
decorated
^ PARACAS CAVERNAS: Geometric figures. with
anthropomor
{PARACAS NECROPOLIS: God of staffs, trophy heads, anthropomorphic, zoomorphic and phytomorphic figures. phic zoo
figures
❖FORMS: Cloaks, tocapus, unkus, capes, etc.
MOCHICA (200 BC-600 AD)
❖TECHNIQUES: Brocade,
Kelin type tapestry or grooved,
eccentric, interlaced.
❖COLORS: Range of reds,
Bag decorated similar to iron oxide.
with figures of
stylized,
❖ FORMS: Tapestries.
geometric ❖DESIGN: Gods, men, plants
characters and animals and geometric
and bird figures.
figures.
Iconography of rituals in which warriors participate.
 NAZCA (200-700 BC)

* RAW MATERIAL: Pima cotton.

❖yarn,
TECHNIQUES: Warp and weft, with “S”
basting stitch.
❖ DYEING: Indigo plant - indigo blue color.
❖feathers
DECORATION: Camelid wool and bird
❖ DESIGN: Marine ecosystem, to the sky, to
the earth and to religious offerings,
geometric figures, staggered Greek key.

Fragment of a mural with designs of

eyed creatures, felines, and eight-
pointed stars.
 83228@8o—O)z0e M€(80
WARI CULTURE
Tiahuanacu culture
During this period influenced
by the Tiahuanku culture, the
fabric acquired a remarkable
iconographic and decorative
structure. New technologies are
adopted and also new ways of
organizing the woven space
with a clear
demarcation of a center, spaces,
intermediates, laterals and
edges
fabric comparable to the Religion, represented by Wiracocha
classic style of ceramics
 gzg2eg8 G805O
Chimu culture
CULTURE
CHANCAY

Textiles reached their greatest

complexity during this period,
especially in their iconographic
aspects.

Anthropomorphic
Funerary mantle of being from the Chimu
the Chancay culture
culture
 2628(88(0)8 (805O)
INCA CULTURE

For the Incas, the importance of Inca Honda with

textiles was religious, social and Inca bag its divisions. Werepolychrome palette
political.2 They expressed his symbols of social status.
worldview, its sense of space and The Incas inherited an entire
Andean textile tradition, mainly
from the production achieved by
the Wari culture.
Unku with tocapus decoration
 Weaving in the
colony
The arrival of the Spanish changed the process of textile production, and
techniques used by pre-Hispanic peoples continued to be developed even
in colonial times.

At this time textile production. They were organized in pre-industrial

centers called obraje, where the production of fabrics was carried out.
 The workshops

The workshops were mainly located in the wool producing areas, therefore in the
central mountain range of Cajamarca, Cusco, Puno, Huaylas and Arequipa.
There were also workshops for cotton weaving, and they operated in the coastal
areas that produced this raw material, such as Lima, Arequipa and Chincha.

In Peru, the workshop takes on peculiar forms of work. The Spanish teacher only
stays for the time necessary for the natives to learn the trade, not being the owner of
the business. The owner here is the encomendero who provides the raw materials,
but does not personally supervise the work. The worker in the workshop is a
Peruvian native; there is no involvement of mestizos or blacks in this work. Silva
Santisteban mentions that the workshop was a closed area that was padlocked to
prevent the Indians from escaping. The Indians had to quickly learn the techniques
brought by the Spanish, the most novel being the manufacture of cloth.
He tissue republican
and
contemporary
The textile industry in Peru has always been distinguished by
the quality of its raw materials and finished products, as well as
by being a major generator of employment. Today, the textile
industry is also one of the main industries that contribute to the
country's gross domestic product, as a domestic supplier, and
as a generator of income through product exports. In the 19th
century trade, a great variety of textiles arrived in Peru, and
were exported, especially in the southern region, both sheep
wool and fine auchenid hair, since such commercialization was
interesting at that time. The southern trade allowed the
recovery of the colonial routes of the ports of Islay and the
towns of Cusco, Puno and Bolivia. This activity, however, did
not improve the type of fiber, but trade growth was still
constant.
The art of weaving, in the Andes, is a form of
writing or language made up of visual metaphors
that transmit values, cosmology and cultural
schemes. Our Andean Textile Art Program has a
holistic approach, having as its main branch,
practical lessons that consist of learning the
various weaving techniques, combined with other
theoretical modules, in such a way that the
participant not only assimilates the logic of the
design and aesthetics of Andean textile art, but
also its function and role in Andean society.