Weavers
Weaving, a specialized craft, promoted the creation of textiles during the Inca Empire. It was specifically a female craft; however, men occasionally partook in the craft when working with rougher fibers for more purposeful art. Unlike men, all women wove, ranging from common women to the wives of the emperor.
The production of textiles occupied more people and required more labor than any other Inca craft. |
Symbolic Aspect
For common women, it was a craft of both femininity and necessity, as women used this craft to clothe their family. On the other hand, the elite solely saw this craft as a representation of their feminine nature.
The Incas believed it represented their greatest artistic achievement. |
Overview: Textiles
Although the textile tradition was inherited, the importance of it was still very present. Differing types of labor varied in its production, creating numerous occupations for the people of the empire.
The process of creating textiles was strenuous. Cotton had to be raised, harvested, washed, combed, dyed, and spun, and alpacas were herded and sheared to provide wool. This had to happen before weaving could commence, and the design had to be planned prior to the creation as well. After the loom was set up, the artists could finally begin their weaving.
The backstrap loom, a commonly used loom for weaving, was a device composed of two sticks with the warp threads stretched between them. One end was tied to a support (tree, post, etc.) while the other end was attached to a belt on the weaver. The weaver controlled the device by leaning backward, using their motions to weave.
Larger pieces of fabric, however, such as tunics, were woven on vertical frame looms.
Three types of cloth were available during the Inca Empire: chusi, ahuasca, and cumpi.
Chusi was the coarsest type; it was used for making sacks, rugs, and blankets. Ahuasca was relatively coarse, and it was made from the wool of alpacas and llamas. It was used to make clothing for lower classes. Lastly, cumpi, the cloth of the finest quality, was reserved the the emperor and nobility. It was made from alpaca wool and cotton and, occasionally, exotic materials such as bat hair.
The cumpi cloth was produced in aclla wasi, a state run institutions where selected women devoted their lives to weaving for clothing the emperor, cult images, and for sacrifices. Woven tunics were decorated with Inca-style, which included abstract geometric designs, checkerboard squares, and diamonds.
The process of creating textiles was strenuous. Cotton had to be raised, harvested, washed, combed, dyed, and spun, and alpacas were herded and sheared to provide wool. This had to happen before weaving could commence, and the design had to be planned prior to the creation as well. After the loom was set up, the artists could finally begin their weaving.
The backstrap loom, a commonly used loom for weaving, was a device composed of two sticks with the warp threads stretched between them. One end was tied to a support (tree, post, etc.) while the other end was attached to a belt on the weaver. The weaver controlled the device by leaning backward, using their motions to weave.
Larger pieces of fabric, however, such as tunics, were woven on vertical frame looms.
Three types of cloth were available during the Inca Empire: chusi, ahuasca, and cumpi.
Chusi was the coarsest type; it was used for making sacks, rugs, and blankets. Ahuasca was relatively coarse, and it was made from the wool of alpacas and llamas. It was used to make clothing for lower classes. Lastly, cumpi, the cloth of the finest quality, was reserved the the emperor and nobility. It was made from alpaca wool and cotton and, occasionally, exotic materials such as bat hair.
The cumpi cloth was produced in aclla wasi, a state run institutions where selected women devoted their lives to weaving for clothing the emperor, cult images, and for sacrifices. Woven tunics were decorated with Inca-style, which included abstract geometric designs, checkerboard squares, and diamonds.