Thin rope made of camelid hair used to secure the fastener frame of the loom (the poles in teh case of the horizontal loom) to the floor or to a solid object, and in the case of the waist loom to the weaver's waist at one end and to a solid frame (tree or pole) at the other.
Hat made with a narrow brim and high crown, result of the influence of the Italian 'Borsalino' hat, it has a different shape and ornaments in each region.
Hat made out of felt from sheep's wool, with a more or less tall crown which has ribbons wrapped round it, generally in black and white, at first with a narrow brim, but now with a wider brim to protect the wearer from the sun.
Fine and open woven cloth characterised by total reflection symmetries, made on a frame of two cross poles at each end without a loom, by manipulating the warp threads with techniques of interlacing, oblique interlacing and oblique plying in reflection, without recourse to the use of a weft.
Breed of alpaca that now makes up only 10% of the herds in the Andes and which has long straight hair that falls down each side of the animal. Its fibre is often compared to that of the Lincoln sheep.
Medium sized woven sack or bag, made in a single rectangular piece, folded and stitched along the sides, with a composition of stripes common in these sorts of textiles, used to store or transport maize and potatoes.
Generic expression employed to designate a cloth that has been worked in whichever of the varities of tapestry techniques (grooved tapestry or kelim, eccentric tapestry, jagged tapestry etc.)
Bag in the form of a large sack used to keep weaving implements, used more in the highlands and valleys than on the coast because of the presence of herds of animals.
The term tapestry has several meanings: i) the textile technique in which what predominates is the spacing of the weft threads over those of the warp, to the point of hiding them; ii) the use of this technique to produce precise pictorial textile figures; iii) the use of this type of figuration specifically for wall decorations; iv) the use of pictorial figures in any kind of cloth.
Mesh technique made without a loom, from a single element, in a system of interrelations to produce a determinate genre through techniques of looping mesh often made with a small or crochet hook.
Textile technique with rectilinear warp face that derives from the structure of 3 to 8 warp layers, in which the intercalation of different colours occurs in different rows of the weft and in which each row is of a single colour.
Textile technique with rectilinear warp face that derives from the structure of 3 to 8 warp layers, in which the intercalation of different colours occurs in different rows of the weft and in which each row is of a single colour and in which 2 wefts are used.
Simple rectilinear warp face technique, with a warped structure of 1, but in which two colours in the form of stripes are used. The choice of stripes is based on a pattern of two warp threads in two contrasting colours that alternate. In the archaeological examples of this technique normally two white threads and two coffee coloured threads are used, both being natural colours of cotton.
Simple rectilinear warp faced technique, with a warp structure of 1, but in which two colours in the form of stripes are used. The choice of stripes is based on a pattern of two warp threads in two contrasting colours that alternate, and in this case only 1 weft is used.
Simple rectilinear warp faced technique, characterised by having a base of plain weave balanced with matched warps. There are three varieties of this technique: matched warp with simple visible weft; matched warp with visible weft, with figure through weft lines, and matched warp with visible weft, with selected figure. These techniques allow warp threads to be used with less torsion.
Rectilinear warp faced technique in the simplest cross warp and weft technique, with paired warp and visible weft made in a warp structure of 1 and the use of plain paired warp.
Rectilinear warp faced technique in the variant of cross warp and weft, paired warp with visible weft, in which the warps are always manipulated in pairs, the visible weft is made with a cross between weft and warp, and in which the warp is dominant in the chosen figure. This technique is also called 'alternate floating threads' though this term does not clearly express the way it is executed.
Rectilinear warp faced technique in the variant of cross warp and weft, paired warp with visible weft, in which the design emerges from the technique on a base of ladder with colour in rows (patapata). It is usually counted with paired warp threads and some of the wefts are often also paired. What dominates in the design are the warps in pairs and the figure through warp lines.
Warp faced technique made without a loom, from interlaced elements. This technique is commonly used in narrow huinchas and stripes. There are different forms, for example flat and volumetric, and different designs: in plaiting, oblique interlacing, zigzags and their variants.
Set of rectilinear warp faced techniques centred on the counting of the warp threads along the horizontal axis of the loom, with each pass of the weft, counting the warp threads by unity, odd, even, three and four. These techniques are also known as 'floating threads' (Aymara or Quechua palla).
