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The marine subsistence economy of the prehistoric people of northern Chile was heavily reliant on fiber technology for the components of nets, lines, and tethers. Despite the significance and the remarkable preservation of fiber artifacts along the arid Atacama coastline, these components have received little direct attention. This case study of fiber artifacts from the Caleta Vitor archaeological complex is the first broad overview of techniques, material usage/preference, and fiber-processing conventions at a northern Chilean Archaic period site. The data presented in this paper indicate gradual change in material preferences over time, shifting from locally available vegetal fiber, which dominates the Archaic period, with small amounts of camelid fiber, to the predominance of camelid fiber in the Late Formative period. This change coincides with the appearance of more complex weaving techniques indicating participation in the previously established textile tradition proposed by Ulloa (2008) as stretching from the Azapa Valley to the Loa River.

As insignia of power and prestige, Inka unku (tapestry tunics) communicated the strength and extent of Inka sociopolitical hegemony in the Andes. Of the 36 known full-size examples in museum collections, only one, found in Argentina, comes from outside Peru. This article investigates another recently excavated unku found out of context on Chile's northernmost coast. To confirm its authenticity, we compiled a database showing the technical and stylistic attributes of previous finds for comparison. We conclude that this artifact is indeed a new type of unku and that the discovery affects our understanding of the complex relationship between the people of this province and the Inka state.

Standardized Inka tunics, or unku, were created under the auspices of the state as symbolic expressions of its expansionist power. To ensure these textiles acquired the status of effective insignias of power and territorial control, the Inka established and imposed technical and stylistic canons for their production (techne) by means of highly-skilled state weavers. In the provinces, social groups that came under imperial rule, local expert weaving agents adopted the conventions of the state and included meaningful symbolic elements of the idiosyncrasies, traditions, and experiential knowledge of the local community (metis). We therefore propose that this was not a unidirectional process and that the Caleta Vitor Inka unku (hereon referred to as the CV unku), presented here, reflects a syncretism promoted by local weavers. In terms of methods, we have developed a decoding tool for the unku, with the aim of distinguishing state from local hallmarks, thereby revealing the syncretic complexity of these iconic tunics. This methodological tool is based on a series of standard analytical parameters and attributes linked to morphological, technological, and stylistic features, which we applied to the CV unku. Unlike others, this unku does come from a looted tomb but was scientifically excavated in a cemetery located in the Caleta Vitor Bay in northern Chile. By deconstructing the CV unku we determined the steps in the chaîne opératoire at which local technical and stylistic elements were incorporated, thus affecting or transforming, in part, its emblematic imperial imagery. This study also marks a step forward in our understanding of a syncretic landscape that combines the state worldview and organized production system (imperial Inka) with craft-production practices that were rooted in provincial and local communities (provincial Inka).

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