An Inka <i>Unku</i> from Caleta Vitor Bay, Northern Chile

Martens, Tracy; Correa-Lau, Jacqueline; Santoro, Calógero M.; Carter, Christopher; Cameron, Judith

doi:10.1017/laq.2020.81

Cited by 2 publications

(3 citation statements)

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“…This includes a long rectangular morphology and lack of sleeves. The measurements are within the established averages for width [between 72–79 cm; 6 ] and length [between 79–110 cm; 44 ]; see also Mary Frame [ 12 ]. The unku’s interlocking tapestry technique is certainly of highland origin, as are its checkerboard design and “V”-shaped yoke, which forms a diamond when the piece is laid out fully.…”

Section: Discussionsupporting

confidence: 71%

“…To test the hypothesis that the CV unku was produced by specialized local weavers who incorporated their own symbolic and meaningful elements, our case study focuses on the unku found in Caleta Vitor Bay, northern Chile [ 6 ]. The CV unku is an exceptional example, not only for that area but also for the entire Andean region.…”

Section: Introductionmentioning

confidence: 99%

“…This is reflected in the degree of variability that can be observed in unku, like the Caleta Vitor Inka unku (hereon referred to as the CV unku). A previous study of the CV unku, conducted by Martens et al [6], confirmed that it was an authentic imperial Inka garment, as it shared key imperial technical and stylistic characteristics-observed in 36 examples of unku from different museums across Europe and the United States of America-that were compiled for her comparative study and recorded in a database [6]. In the process of extending the study of this particular unku we realized that state parameters were accompanied by features that did not conform to the Inka style as defined in previous classifications [7].…”

Section: Introductionmentioning

confidence: 99%

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Inka Unku: Imperial or provincial? State-local relations

et al. 2023

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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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Section: Discussionsupporting

confidence: 71%

Section: Introductionmentioning

confidence: 99%