16th – 18th Century Andean Tapestries:

Art and Process in the Colonial Andes

Elena Phipps

 

Tapestries made in Peru and Bolivia after the Spanish arrival, in 1532, drew from native Andean tradition and the variety of new influences that resulted from the social and political transformation of Colonial society. Tapestry-woven garments, following Inca cumbi weaving techniques, perfected by the masterweavers of the previous era continued to be made in a modified form, along with a new form of tapestry hangings, following the Spanish and European taste. Many of the early Colonial tapestries retained the Inca symbols of rank and identity in their use of the highest quality native materials and important, emblematic motifs. At the same time, the weavers incorporated elements reflecting European values, including symbols of wealth (in the form of silk and metallic threads) status (armorial coats of arms) and religion (including Christian motifs, such as Adam and Eve, among others). These value systems converged in the complex interaction of Andean and Spanish world views. Tapestry methods, materials and designs incorporated by the skilled Andean weavers manifest the hybrid nature of the Colonial culture of the period. The paper will outline the evolution of the tapestries made in the Colonial Andes from the mid 16th through the end of the 18th centuries.

 

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