"The tradition of weaving textiles with four finished edges—selvages—characterizes the creative process of the ancient weavers of Peru, known for their mastery of color, technique, and design. Without cutting a thread, each textile was woven to be what it was intended, whether a daily garment, royal mantle, or ritual cloth. This approach to weaving required the highest level of skill—even for the simplest of plain undecorated cloth—and reflects a cultural value in the integrity of cloth, not only in its design and function but in the way in which it was made. This exhibition highlights selections from the Fowler Museum’s noteworthy collection of Precolumbian textiles and includes masterworks that demonstrate the high level of artistic achievement of Peruvian weavers. These range from the ancient ritual textiles from the early Chavin and Paracas cultures (500–100 B.C.E.) to the extraordinary garments of the Inca empire (1485–1532). While exploring the origins and development of this approach to weaving, the exhibition will also examine its influence on three contemporary artists―Shelia Hicks, James Bassler, and John Cohen—each of whom through his or her own artistic path has considered and transformed ancient weavers’ knowledge and processes into new directions."--

Along the coast of Peru is one of the driest deserts in the world. Here, under the sand, the ancient Peruvians buried their dead wrapped in gorgeous textiles. As organic material keeps almost forever when stored without humidity, light and oxygen, many of the mummies excavated in the last hundred years are in excellent conditions. And so are the textiles wrapped around them. Their clear colors are still dazzling and the textile fibers in good condition. Textiles were highly valued objects in ancient Peru - used for expressing status and diverse messages in these non-literate but highly organized and very developed cultures. Much energy, innovation and aesthetic sensibility were invested in the textiles. The preColumbian peoples had access to exquisite materials: the local fibers were camelid fibers (alpaca and vicuña), cotton and plant fibers (agave, for instance). The camelid fibers have very little scales compared to sheep fibers, and are long, soft and lustrous. The Peruvian cotton grew in 5 different colors. The ancient Peruvians were also master dyers and have for thousands of years dyed their yarn with indigo blue, madder red, cochineal red, sea snail purple and yellow from many kinds of plants. And so they produced some of the finest, most beautiful and most interesting textiles in the world. Instead of writing, they kept the order in their world encoded in textile fibers. The Roemer- and Pelizaeus-Museum in Hildesheim houses a collection of 405 preColumbian textiles. Most of them are fragments, but a few complete pieces are present. I have chosen 133 pieces for this publication, to represent the collection at its best.

From the marketplace of famed Machu Picchu to the outrageous costumes of Bolivia's Carnival, travel along and discover some of the finest indigenous textiles in South America. A Textile Traveler's Guide to Peru and Bolivia is an excellent resource for markets, festivals, museums, and shops. Geared to independent-minded travelers, this guide presents the safest and most accessible methods of travel, where and when to go, where to stay, and what to eat. Expert advice on what treasures you'll find at each location, how to judge quality textiles, and suggestions for ethical shopping are included. With abundant photographs, this guide celebrates the color, joy, and energy of folklife in Peru and Bolivia.

Winner, Silver Medal in the Craft/Hobby Category, 2018 IBPA Benjamin Franklin Awards Nilda Callañaupa Alvarez has gathered artisans of all ages to share their knowledge, lore, and deep skills, highlighting many of the techniques used by craftspeople in the Andes. They reveal clever highland secrets for everything from skeining yarn and knitting in reverse to weaving tubular borders and embellishing fabric with complex stitches. For many of these techniques, they provide concise step-by-step instructions accessible for North American crafters. Thoughtful, detailed descriptions of Andean cultural traditions frame each section, providing context and rare insight into what textile work means as a living heritage of the Quechua people.

In the world of the ancient Andes, textiles were often the most valuable commodity people possessed—far beyond gold and silver—and they were a major medium for conveying critical cultural meaning. Textiles of the Andes features a wealth of rare and exquisite pieces, many of great iconographic and technical importance, ranging in date from the Paracas to the Inca and Colonial periods, from 200 BC to the late 18th century. Examples of contemporary Andean textiles complement the early pieces and illustrate the continuity of weaving traditions in the Andes. • Detailed photos show each textile in full • Glossary of technical analysis for designers • Authoritative introduction by an expert in the field provides a context for appreciating and enjoying the superb and varied designs

The Ethnological Museum in Berlin, Germany, houses Europe's largest collection of PreColumbian textiles-around 9000 well-preserved examples. Lena Bjerregaard was conservator of these materials 2000-2014, and she worked with many international researchers to analyze and publicize the collection. This book includes seven of their essays on the museum's holdings - by Bea Hoffmann, Ann Peters, Susan Bergh, Lena Bjerregaard, Jane Feltham, Katalin Nagy, and Gary Urton. Its second part is a 177-page catalogue of 273 selected representative items, arranged by period and style. There are more than 380 photographs. Styles or cultures shown include Paracas, Nasca, Sican/Lambayeque, Ychsma, Chavin, Siguas, Tiwanaku, Wari, Chimu, Central Coast, Chancay, South Coast, Inca, and Colonial. Items pictured include tunics, clothing, tapestry, hats, belts, headbands, samplers, borders, and khipus. Materials include camelid fibers, feathers, hair, cotton, reed, straw, and other plant fibers.

Massive yet elegantly executed masonry architecture and andenes (agricultural terraces) set against majestic and seemingly boundless Andean landscapes, roads built in defiance of rugged terrains, and fine textiles with orderly geometric designs—all were created within the largest political system in the ancient New World, a system headed, paradoxically, by a single, small minority group without wheeled vehicles, markets, or a writing system, the Inka. For some 130 years (ca. A.D. 1400 to 1533), the Inka ruled over at least eighty-six ethnic groups in an empire that encompassed about 2 million square kilometers, from the northernmost region of the Ecuador–Colombia border to northwest Argentina. The Inka Empire brings together leading international scholars from many complementary disciplines, including human genetics, linguistics, textile and architectural studies, ethnohistory, and archaeology, to present a state-of-the-art, holistic, and in-depth vision of the Inkas. The contributors provide the latest data and understandings of the political, demographic, and linguistic evolution of the Inkas, from the formative era prior to their political ascendancy to their post-conquest transformation. The scholars also offer an updated vision of the unity, diversity, and essence of the material, organizational, and symbolic-ideological features of the Inka Empire. As a whole, The Inka Empire demonstrates the necessity and value of a multidisciplinary approach that incorporates the insights of fields beyond archaeology and ethnohistory. And with essays by scholars from seven countries, it reflects the cosmopolitanism that has characterized Inka studies ever since its beginnings in the nineteenth century.