Antique Native American Indian

MARVELOUS QUECHUA INDIAN IKAT PONCHO Ceremonial Masterpiece Textile TM8255

MARVELOUS QUECHUA INDIAN IKAT PONCHO Ceremonial Masterpiece Textile TM8255
MARVELOUS QUECHUA INDIAN IKAT PONCHO Ceremonial Masterpiece Textile TM8255
MARVELOUS QUECHUA INDIAN IKAT PONCHO Ceremonial Masterpiece Textile TM8255
MARVELOUS QUECHUA INDIAN IKAT PONCHO Ceremonial Masterpiece Textile TM8255
MARVELOUS QUECHUA INDIAN IKAT PONCHO Ceremonial Masterpiece Textile TM8255
MARVELOUS QUECHUA INDIAN IKAT PONCHO Ceremonial Masterpiece Textile TM8255
MARVELOUS QUECHUA INDIAN IKAT PONCHO Ceremonial Masterpiece Textile TM8255
MARVELOUS QUECHUA INDIAN IKAT PONCHO Ceremonial Masterpiece Textile TM8255
MARVELOUS QUECHUA INDIAN IKAT PONCHO Ceremonial Masterpiece Textile TM8255
MARVELOUS QUECHUA INDIAN IKAT PONCHO Ceremonial Masterpiece Textile TM8255
MARVELOUS QUECHUA INDIAN IKAT PONCHO Ceremonial Masterpiece Textile TM8255
MARVELOUS QUECHUA INDIAN IKAT PONCHO Ceremonial Masterpiece Textile TM8255

MARVELOUS QUECHUA INDIAN IKAT PONCHO Ceremonial Masterpiece Textile TM8255

A VINTAGE MASTERPIECE PONCHO FROM HIGHLAND BOLIVIA. Provenance: The poncho was field-collected in Molino Hamlet, near Chillma Village, Municiple of Caiza Pueblo, elevation about 11,900 feet, José María Linares Province, Department of Potosí, Bolivia, South America.

The inhabitants of the region mostly speak a dialect of Bolivian Quechua (Kichwa). Formerly, the region was occupied by Uruqilla tribesmen. This is a marvelous indigenous Native American hand-woven, warp-faced man's poncho from the Eastern Andean Cordillera in the Bolivian highlands. Less than two-percent of the hundreds of Andean ponchos appearing in print convey accurate provenance. This is an important example, not only for knowing it´s exact origin, but also because it represents the last phase of these rare textiles.

Two identical woven halves joined with a common center seam compose the poncho. Each of the eight original sides have edge selvage.

There are six wide bands of relatively rare, ikat (warp ikat) designs in two different color combinations. Llama wool with a minor mixture of sheep fibers constitute the light green colors in four of the ikat bands.

The light green color is original and unfaded. Llama wool, unlike sheep wool, does not accept aniline dye well, and thus, most non-natural-dyed llama wool produce colors that appear faded or watered down but do not fade. Sometimes those colors are unpleasantly dull, but in this case, the light green is quite beautiful and complements the burgundy field perfectly. The burgundy brown field color, seen in the lateral bands and the wide center band, is probably dyed with kitchen soot (q´usmi in Quechua).

Apart from the ikat bands there are 20 additional bands in complementary warp design. Four bands each include complicated hooked triangles and ancient siyanu patterns, respectively. Siyanu patterns are complex interwoven, abstract designs incorporating several different colors with none being dominant or inferior.

Extremely few Andean weavers of the late-20th century could perfect weaving siyanu designs. The termination zones are finished in neat undulating checkerboard, or wide, zipper-stitch patterns. These are indications that the weaver was particularly adept in her art. TM8255 is an impressive and exceptional tribal textile. The yarns are very fine and tightly woven with about 62 warps per inch and 12 wefts per inch.

Colorful, twisted fringe surrounds the periphery and protrudes from a woven, burgundy-red ribbon. This master-woven poncho dates to the very early-1970´s; it is about 45 years old although it looks decades older. Please refer to the ANDES AMAZON "DATING" TERMS. Materials: Most of the yarn (warp and weft) is traditional drop-spindle, hand-spun, two-ply wool: Z-spun, S-plied. As mentioned above, the light green yarn utilized in the ikat bands is llama wool with a smidgen of sheep wool.

The hand-spun yarns in the warp are dyed sheep wool. The majority of sheep in the Caiza region are of a breed with very long staple.

Textile dealers have often misidentified the common fibers in textiles from the area as llama, although most are, in fact, sheep. The white yarns in the fringe are probably baby llama (indistinguishable from alpaca). All other fringe yarns consist of dyed sheep wool.

The hidden weft yarns are two-ply natural brown llama wool. Blue, green, pink and white colors in the warp are commercial trade yarns. Most of these consist of material that is about 20% sheep wool.

The availability of that yarn in Bolivia lasted for only a couple of years. Approximate Size: 57 1/2-inches by 55 inches, including the 1 1/2-inches fringe (woven ribbon and loose, twisted fibers).

There are no holes, stains or worn spots. There is no dye-run (bleeding). There are two spots on the sides of the poncho with excellent native repair measuring 2 inches by 1 ½ inches and 2 inches by 1 ¼ inches, respectively visible in the last two photos. Please refer to the photos and the ANDES AMAZON TEXTILE "CONDITION" TERMS. The disadvantage is that items will not arrive quickly.

Items to the United States of America have arrived in as few as ten days. Our offices are not in close proximity to international postal service. We promise to continue providing detailed and accurate information related to age, origin, condition and descriptions as we have for the past 19 years.

PREHISTORIC, PRE-COLUMBIAN, ANCIENT = Before around A. 19th CENTURY = 1800 to 1899. TURN-OF-THE-19TH-CENTURY = 1890 to 1910.

EARLY-20TH CENTURY = 1900 to 1933. MID-20TH CENTURY = 1934 to 1966. LATE-20TH CENTURY = 1967 to 1999.

TURN-OF-THE-20TH-CENTURY = 1995 to 2005. EARLY-21ST CENTURY = 2000 to Present.

ANTIQUE = Over 50 years old. VINTAGE = Over 30 years old. CONTEMPORARY = Made in the last 5 years. CIRCA = Approximately/around/within a few years of. ANDES AMAZON TEXTILE CONDITION TERMS.

Terms used to describe the physical condition of textiles can be subjective and vary greatly from one observer to another. What some others call mint condition, we call good; what others call excellent condition, we call fair. Following are explanations of the terms we use. Unused -- as if recently removed from the loom. No wear or patina of any kind.

These textiles may have nubs or even loose, uncut threads from the weaving process. EXCELLENT = Usually only lightly used, often guarded or stored for many years.

There may be extremely light wear, patina and sheen from use. There may also be nearly undetectable light staining or soiling from use. The colors may have muted ever so slightly due to age or exposure, often improving the beauty of a textile.

VERY GOOD = Usually lightly or only periodically used. The surface may be very lightly but evenly worn.

There are no tears or distracting holes. There may be minimal surface discoloration. Vintage textiles may have lightly darkened yarn from use and age (staining and soiling). Overall, the textile will be in outstanding condition and at a displayable distance will appear perfect.

GOOD = Usually moderately to well-used. There may be light to medium staining, isolated or throughout.

Some parts of the textile may be worn or have very small holes, occasionally exposing hidden thread yarns. Edges may be lightly frayed. Surface discoloration due to age and exposure is common but often improving the appearance of a textile. There may be minor, light or isolated, dye run. Damage will not distract significantly from the textile when displayed.

FAIR = Either well-used or moderately abused. Extensive wear is common as is some bleeding or dye run.

In most 20th century cases, the colors have considerably faded. Sections of fringe or tassels may be missing. Textiles may be in otherwise excellent condition but with a single isolated sector of damage, that greatly reduces its aesthetic appeal. Most vintage tribal textiles on the market are in FAIR TO GOOD condition. POOR = Showing evidence of extreme usage and damage.

These textiles do not display well and are primarily useful as study specimens or examples of sometimes very rare textiles. We believe the world can be a better place. We believe that humanity has a higher, aspiring destination.

We know that through mutual respect conflicts will subside. We know that by understanding our differences we can help one another. We believe that our Mother Earth and our Universe can provide unlimited resources for every man, woman and child to live in peace, happiness and love. As stewards of the human race, we have an intrinsic responsibility to do what we can to improve our world as much as possible.

The majority of human existence has been dominated by so-called Native groups, also known as tribal folk, original residents, indigenous people, aboriginals, First Nations, traditional ethnicities, autochthonous societies, autochthonal cultures, et. At some point, of course, our ancestors were the same regardless of current culture, creed or color. Regrettably, in the past half a millennium, thousands of unique tribal groups have disappeared due to misunderstanding, impudence and ethnocentrism. Aspects of colonialism, capitalism, racism and politicization have directly and circuitously destroyed myriad native cultures, each a once-valuable resource to our planet.

Of the nearly 7000 languages currently spoken on our planet, over 6000 are in immediate danger of becoming extinct. The vast majority of those are ethnic indigenous. We believe the very few Native groups that remain on earth should be cherished and carefully supported. Unfortunately, we are on the brink of losing our connection with indigenous spirit, wisdom and traditional knowledge.

For more than a quarter century those of us behind AKATAKSA/ANDESAMAZON have dedicated our professional interests to documenting traditional South American indigenous cultures, especially through their material culture. Our field studies have led us to some of the remotest living people on the continent. We have witnessed Native Americans existing exactly as their ancestors did in prehistoric times and others who have jumped from 18th century existence to 21st century reality in the blink of an eye. Our ethnographic investigations have resulted in valuable data related to linguistics, cultural history, ethno-environmental relationships, socio-cultural organization, cosmology, mythology, spirituality and of course, material culture. We have a detailed proposal for a magnificent cultural center aimed at stimulating interest in past and present indigenous cultures. Our unique idea is not just to show beautiful objects on display. Ours is to share the entire background of a piece, not only from a scientific or scholarly point of view but also from a cultural and spiritual perspective as well. This holistic approach to understanding indigenous material culture shall include accompanying photographs, films, recorded testimonials, music, related specimens and even field notes. We want to inspire our visitors to continue their own investigations into realms of mysterious phenomena that we really know very little about. Apart from receiving monies for researching indigenous material culture, our sales contribute toward expanding interest in past cultures and ways of life. Not only can ones´ personal environment be enhanced with beautiful and interesting objects but also the benefits of knowing about different ideologies, unique ways of life and past or nearly extinct traditions are utterly invaluable. We hope that whatever understanding, knowledge and insights are obtained from our objects will be shared with companions, friends and especially children. In this small way, we feel inspired in preserving something of native cultures and making the world a better place. Thank you for working with us.

THANK YOU FOR YOUR INTEREST AND SUPPORT. The item "MARVELOUS QUECHUA INDIAN IKAT PONCHO Ceremonial Masterpiece Textile TM8255" is in sale since Thursday, August 9, 2018. This item is in the category "Antiques\Ethnographic\Native American". The seller is "andesamazon" and is located in Santa Cruz, .

This item can be shipped worldwide.
MARVELOUS QUECHUA INDIAN IKAT PONCHO Ceremonial Masterpiece Textile TM8255