GENERAL DESCRIPTION
Contemporary with the Chimú state to the north, the Chancay culture of central Peru developed during the Late Intermediate Period (900-1470 CE). Chancay ceramic production included large, hollow figurines, double-chamber vessels, and face-neck jars, with dark slip paints applied loosely to the surface. The Chancay also produced finely woven textiles, highlighting advanced skill in this material art.
Popularly known as Peruvian laces, the most delicate textiles were commonly made of un-dyed natural cotton. The loose open-weave may convey both geometric and figural forms, from human or supernatural figures to felines, birds, catfish, and serpents. In this example, the bicephalous (double-headed) serpent or catfishlike figures repeat in diagonal rows that alternate with bands of interlocking frets.
Based on figural models made by Chancay artisans, the laces were likely worn over the head as veils. These textiles have been popularity termed "witching" veils based on the counter-spun threads, a weaving technique where threads are spun in opposite directions. The counter-spun threads may have served to reinforce the construction of these delicate textiles.
Excerpt from
Kimberly L. Jones, PhD, Label text, 2017, A. H. Meadows Galleries.
NOTES
Chancay, Late Intermediate Period, 1200–1400, updated by KJones in TMS on 12/09/15.
Catalogue essays
Artist/designers
Cultures
Chancay: AAT: 300017315
Geography
Peru (nation): TGN: 1000056
Chancay (inhabited place): TGN: 1024437
Process/materials
textiles (visual works): AAT: 300014063
textile materials: AAT: 300231565
cotton (fiber): AAT: 300183670
weaving: AAT: 300053642
warp: AAT: 300227930
weft: AAT: 300227934
embroidering: AAT: 300053653
embroidery (visual works): AAT: 300264024
selvedge (textile components): AAT: 300227893
four-selvedged (textile components): DMA
knotting (textile construction processes and techniques): AAT: 300053635
warp patterning: AAT: 300228475
warp-faced (weave / textile weaving processes and techniques): DMA
Historical periods
Late Intermediate period (Pre-Columbian Andean styles and periods): AAT: 300017313
Individuals
Subject terms
openwork: AAT: 300253899
clothing: AAT: 300266639
veils (headcloths): AAT: 300046128
headcloths (headgear): AAT: 300213003
lace (needlework): AAT: 300132861
fragility: AAT: 300191598
natural: AAT: 300219527
geometric motifs: AAT: 300009764
geometric patterns: AAT: 300165213
geometric shape: AAT: 300263819
figures (representations): AAT: 300189808
form (composition concepts): AAT: 300056272
human figures: AAT: 300404114
supernatural (concepts): AAT: 300055947
animals (Animalia kingdom): AAT: 300249395
feline (cat-like): DMA
birds (animals): AAT: 300266506
birds (motifs): AAT: 300375751
catfish (animal/Siluriformes order): AAT: 300254559
fish (animals): AAT: 300266085
bicephalic (two-headed / double-headed): DMA
serpents (snakes/Serpentes suborder): AAT: 300250870
repetition (artistic concept): AAT: 300400861
diagonal: AAT: 300010276
stripes: AAT: 300010230
bands (decorative): DMA
squares (geometric figures): AAT: 300055637
interlace (patterns): AAT: 300080898
interlacing (textile weaving processes and techniques): DMA
interlocked tapestry: AAT: 300228526
frets (pattern): AAT: 300010155
fretwork: AAT: 300165040
stepped frets (meanders (patterns)/motifs): AAT: 300010171
blocks (quilt components): AAT: 300204896
witches: AAT: 300252827
countered (slant direction / textile weaving processes and techniques): DMA
transparency (optical property): AAT: 300056220
white (color): AAT: 300129784
gauze: AAT: 300014083
spider webs (structures): AAT: 300191704
shawls (perraje / outwear): AAT: 300209991
Chimú: AAT: 300017316
Chimú (former nation/state/empire): TGN: 8698270
RELATED OBJECTS
PROVENANCE
From 1986: Dallas Museum of Art, gift of Barney and Barbara Delabano in honor of Nora Wise [1], [2], [3], [4]
[1] The main source for this provenance is existing information in TMS. Exceptions and other supporting documents are noted.
[2] The main source for this provenance is Acquisition Record (dated June 04, 1986), copy in Dallas Museum of Art Collections Records Object File, Confidential). Exceptions and other supporting documents are noted.
[3] The main source for this provenance is letter from Steven A. Nash, Deputy Director / Chief Curator at the Dallas Museum of Art to Barney and Barbara Delabano (dated July 14, 1986), copy in Dallas Museum of Art Collections Records Object File, Confide"ntial). Exceptions and other supporting documents are noted.
[4] The main source for this provenance is Deed of Gift (dated July 07, 1986), copy in Dallas Museum of Art Collections Records Object File, Confidential). Exceptions and other supporting documents are noted.
AUDIO ASSETS
VIDEO ASSETS
IMAGE ASSETS
WEB RESOURCES
ARCHIVAL RESOURCES
FUN FACTS
TEACHING IDEAS
RULES
Apply to objects where number equals 1986.39
Category
rules_operator
AND
General Description
Contemporary with the Chimú state to the north, the Chancay culture of central Peru developed during the Late Intermediate Period (900-1470 CE). Chancay ceramic production included large, hollow figurines, double-chamber vessels, and face-neck jars, with dark slip paints applied loosely to the surface. The Chancay also produced finely woven textiles, highlighting advanced skill in this material art.
Popularly known as Peruvian laces, the most delicate textiles were commonly made of un-dyed natural cotton. The loose open-weave may convey both geometric and figural forms, from human or supernatural figures to felines, birds, catfish, and serpents. In this example, the bicephalous (double-headed) serpent or catfishlike figures repeat in diagonal rows that alternate with bands of interlocking frets.
Based on figural models made by Chancay artisans, the laces were likely worn over the head as veils. These textiles have been popularity termed "witching" veils based on the counter-spun threads, a weaving technique where threads are spun in opposite directions. The counter-spun threads may have served to reinforce the construction of these delicate textiles.
Excerpt from
Kimberly L. Jones, PhD, Label text, 2017, A. H. Meadows Galleries.
Fun Facts
Archival Resources
Web Resources
Notes
Chancay, Late Intermediate Period, 1200–1400, updated by KJones in TMS on 12/09/15.
Catalogue essays
Artist/designers
Cultures
Chancay: AAT: 300017315
Geography
Peru (nation): TGN: 1000056
Chancay (inhabited place): TGN: 1024437
Process/materials
textiles (visual works): AAT: 300014063
textile materials: AAT: 300231565
cotton (fiber): AAT: 300183670
weaving: AAT: 300053642
warp: AAT: 300227930
weft: AAT: 300227934
embroidering: AAT: 300053653
embroidery (visual works): AAT: 300264024
selvedge (textile components): AAT: 300227893
four-selvedged (textile components): DMA
knotting (textile construction processes and techniques): AAT: 300053635
warp patterning: AAT: 300228475
warp-faced (weave / textile weaving processes and techniques): DMA
Historical periods
Late Intermediate period (Pre-Columbian Andean styles and periods): AAT: 300017313
Individuals
Subject terms
openwork: AAT: 300253899
clothing: AAT: 300266639
veils (headcloths): AAT: 300046128
headcloths (headgear): AAT: 300213003
lace (needlework): AAT: 300132861
fragility: AAT: 300191598
natural: AAT: 300219527
geometric motifs: AAT: 300009764
geometric patterns: AAT: 300165213
geometric shape: AAT: 300263819
figures (representations): AAT: 300189808
form (composition concepts): AAT: 300056272
human figures: AAT: 300404114
supernatural (concepts): AAT: 300055947
animals (Animalia kingdom): AAT: 300249395
feline (cat-like): DMA
birds (animals): AAT: 300266506
birds (motifs): AAT: 300375751
catfish (animal/Siluriformes order): AAT: 300254559
fish (animals): AAT: 300266085
bicephalic (two-headed / double-headed): DMA
serpents (snakes/Serpentes suborder): AAT: 300250870
repetition (artistic concept): AAT: 300400861
diagonal: AAT: 300010276
stripes: AAT: 300010230
bands (decorative): DMA
squares (geometric figures): AAT: 300055637
interlace (patterns): AAT: 300080898
interlacing (textile weaving processes and techniques): DMA
interlocked tapestry: AAT: 300228526
frets (pattern): AAT: 300010155
fretwork: AAT: 300165040
stepped frets (meanders (patterns)/motifs): AAT: 300010171
blocks (quilt components): AAT: 300204896
witches: AAT: 300252827
countered (slant direction / textile weaving processes and techniques): DMA
transparency (optical property): AAT: 300056220
white (color): AAT: 300129784
gauze: AAT: 300014083
spider webs (structures): AAT: 300191704
shawls (perraje / outwear): AAT: 300209991
Chimú: AAT: 300017316
Chimú (former nation/state/empire): TGN: 8698270
RELATED OBJECTS
PROVENANCE
From 1986: Dallas Museum of Art, gift of Barney and Barbara Delabano in honor of Nora Wise [1], [2], [3], [4]
[1] The main source for this provenance is existing information in TMS. Exceptions and other supporting documents are noted.
[2] The main source for this provenance is Acquisition Record (dated June 04, 1986), copy in Dallas Museum of Art Collections Records Object File, Confidential). Exceptions and other supporting documents are noted.
[3] The main source for this provenance is letter from Steven A. Nash, Deputy Director / Chief Curator at the Dallas Museum of Art to Barney and Barbara Delabano (dated July 14, 1986), copy in Dallas Museum of Art Collections Records Object File, Confide"ntial). Exceptions and other supporting documents are noted.
[4] The main source for this provenance is Deed of Gift (dated July 07, 1986), copy in Dallas Museum of Art Collections Records Object File, Confidential). Exceptions and other supporting documents are noted.
AUDIO ASSETS
VIDEO ASSETS
rules
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Objects
number
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1986.39
source file
object_notes_3_a-0599.xml.nores