In the early Colonial period, cloth usually made of cotton or camelid fibre, that was used to apply dye directly to the surface of a fabric, or, in bundle or reserve dyeing techniques, to fasten together certain areas of the hanks so that they did not receive the dye. Nowadays industrially made cloths are used for the same purpose.
First stage in Andean textile learning, so-called because of the braid produced (Aym. tirinsa, Qu. watu or jakima) which is made by girls between 5 and 12 years old. The content includes learning palin weave (Aym. ina sawu), complementary or simple ladder technique with colour by row (patapata) and ladder technique of intercalated colour (ina k'uthu). The equivalent stage in Quechua is called jáquima (jakima).
Weave elaborated in non-rectilinear warp face, set up on a simple pole loom, and then elaborated by hand through elements that interlace obliquely. The emphasis on the diagonal axis in crossed warp technique with 1 weft in its construction is expressed in the motives of woven diamonds and zigzags.
Use of textile in barter transactions to obtain other products, e.g. in traditional journeys by llama caravans to the valleys to obtain their products.
Woman's accessory made in sheep or camelid wool, as woven strings with bobbles at the ends or other type of decoration; it is worn to decorate women's plaits.
Textile style connected with the Tumilaca groups who form at the fall of Tiwanaku on the coast and in the mountains in the south of Peru. Characterised by warp face cloths.
Instrument made out of a thread knotted at both ends used to i) measure the main dimensions (length and breadth) of the textile being woven on the loom and ii) to measure the cloth when it is finished.
Textile style of the Tupuraya culture of the Inter-Andean valleys of central Bolivia during the Late Formative. They include plain textiles in warp face with borders of bright colours, like blue, light blue, shades of red, green and yello that give rise to the iconography typical of this culture.
Type of headware, made from a sort of long sash which is wrapped round in the form of a spiral to cover the head; it is believed that the way of putting it on the head, colour, accessories and other features vary from group to group.
Type of male tunic, or small poncho, that is short and open at the sides, generally made in warp face technique, in a single piece, it includes the ponchito, poncho and padded unco.
Men's garment, like a rectangular tunic, of a single piece, with a whole for the head to pass through and sewn at its ends, with two holes for the legs to go through.
Men's tunic, made on a vertical loom, from a single piece in the form of two rectangles, folded in half at shoulder level and stitched together along the sides, leaving an opening for the legs: it can hang down to the knees.
In warp faced weaves, the processing of warping up the loom with warp threads in a figure-eight turns of the loom crosspoles, so setting up the structure of the cloth according to the number of the warps used. This task is usually carried out by two people, in the absence of an instrument specifically for this purpose. As part of the warp it is also necessary to set up the heddles according to the number of layers, and the securing rope. In the case of weft face, the warp is much simpler, with a single warp.
Hollow instrument of wood or bone, some 7cm long and 2 or 3 cm in diameter, with holes leading from the surface to the interior of the instrument, whose function as winder, warper and tautener, allows a single person to work on these processes rather than two.
A hollow instrument of wood or bone, some 7cm in length and 2 or 3 cm in diameter, with three or more openings running from the surface into the interior of the instrument, whose function as warper allows just one person to work in these processes rather than two. The number of openings has a direct relation to the quantity of warp threads in play in the fabric structure, in this case at a complex level.
A hollow instrument of wood or bone, some 7cm in length and 2 or 3 cm in diameter, with one or two openings running from the surface into the interior of the instrument, whose function as warper allows just one person to work in these processes rather than two. The number of openings has a direct relation to the quantity of warp threads in play in the fabric structure, in this case at a simple level.
Weave characterised by areas of different colours or textures in warp face, generated by discontinuous warp threads. In its elaboration, a frame of horizontal wefts is used, around which the warp threads of a block of clour are interlaced with those of another colour. This technique is occasionally called 'warp faced tapestry' technique.
