Panel
Item number Sf870 from the MOA: University of British Columbia.
Item number Sf870 from the MOA: University of British Columbia.
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Complete loom width of dark yellow, weft-faced weaving with tapestry borders of interlocking spirals in red and dark yellow. Tapestry bands with feather motifs in red and two shades of yellow are sewn to both ends, next to the spirals. Fragments of seaming thread indicate the piece was folded transversely, and seamed together.
The position of the stitching thread fragments suggests this was a panel from a small, sleeveless tunic.
The feather motif has an obviously avian connotation. The interlocking spirals are ubiquitous in Peruvian art. Some feel they are abstract serpent symbols.
A late Chancaysash (Tsunoyama, pl.1) has feather and interlocked spiral motifs in the same range of colours. Cotton warps and slit tapestry are typical of Chancay textiles (Rowe). The feather motif is most frequently used in Inca Period textiles, particularly ones made on the coast (p.c., A. Sawyer).
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Complete loom width of dark yellow, weft-faced weaving with tapestry borders of interlocking spirals in red and dark yellow. Tapestry bands with feather motifs in red and two shades of yellow are sewn to both ends, next to the spirals. Fragments of seaming thread indicate the piece was folded transversely, and seamed together.
The position of the stitching thread fragments suggests this was a panel from a small, sleeveless tunic.
The feather motif has an obviously avian connotation. The interlocking spirals are ubiquitous in Peruvian art. Some feel they are abstract serpent symbols.
A late Chancaysash (Tsunoyama, pl.1) has feather and interlocked spiral motifs in the same range of colours. Cotton warps and slit tapestry are typical of Chancay textiles (Rowe). The feather motif is most frequently used in Inca Period textiles, particularly ones made on the coast (p.c., A. Sawyer).
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