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MATERIAL ENCOUNTERS: KNOTTING CULTURES IN EARLY MODERN PERU AND SPAIN

Published online by Cambridge University Press:  11 January 2019

STEFAN HANß Open the ORCID record for STEFAN HANß [Opens in a new window]
STEFAN HANß*
Affiliation:
University of Manchester
*
University of Manchester, School of Arts, Languages and Cultures, Samuel Alexander Building, Room S2.21, Oxford Road, Manchester m13 9pl[email protected]
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Abstract

This article discusses the early modern nexus between feather-work and textiles with a focus on Spanish Peru. Whilst Peruvian feather-work has been defined as pre-Columbian, this article presents new textual, visual, and material evidence that shows its significance in the material culture of colonial Peru, which serves to initiate a broader debate on the dynamics of cultural encounters in the Ibero-American world. I chart the development of craft cultures beyond the moment of the Spanish conquest of the Americas by discussing Peruvian practices of feather manufacturing in relation to the production and usage of textiles in early modern Spain. This approach, I argue, will enable a reconsideration of the dynamics of the Spanish Empire, whose centres and peripheries were linked through circulating objects that constituted a shared material world. In the particular case of feather-work, this was a world that jointly valued the aesthetics of knots and the intricacy of knotting.

Type
Research Article
Information
The Historical Journal , Volume 62 , Issue 3 , September 2019 , pp. 583 - 615
Copyright
Copyright © Cambridge University Press 2019 

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Footnotes

Research for this article was funded by the Swiss National Science Foundation (Materialized identities: objects, affects and effects in early modern culture, 1450–1750). A first draft of this article was presented at the University of Cambridge, where I received stimulating responses from Ulinka Rublack (Cambridge), Alessandra Russo (Columbia University), José Ramón Marcaida Lopez (St Andrew's), and Alexander Marr (Cambridge). I wish to thank all of them. I also presented parts of this article during a masterclass on early modern textiles, co-organized with Beatriz Marín-Aguilera (Cambridge), an expert in Chilean textiles, at the Museum of Archaeology and Anthropology Cambridge. I owe special thanks to Gabriela Ramos (Cambridge), who kindly shared her transcriptions of Peruvian inventories with me. With Raphaële Garrod (Oxford), Michael Peter (Abegg Foundation), Monique Pullan (British Museum), and Helen Wolf (British Museum), I discussed humanist debates on knots, Renaissance weaving techniques, and Peruvian textiles. I am grateful for numerous thrilling conversations with all these researchers, and I wish to thank the British Museum (Helen Wolf), the Museo de América (Beatriz Robledo), and the Museo Nacional de Artes Decorativas (Félix García Díez) for granting me access to their outstanding collections.

References

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19 Smith, P. H. and Beentjes, T., ‘Nature and art, making and knowing: reconstructing sixteenth-century life-casting techniques’, Renaissance Quarterly, 63 (2010), pp. 128–79CrossRefGoogle Scholar; Rublack, ‘Matter in the material renaissance’.

20 Dürer, Schriftlicher Nachlass, i, p. 155.

21 Reina, R. E. and Kensinger, K. M., eds., The gift of birds: featherwork of native South American peoples (Philadelphia, PA, 1991)Google Scholar; King, Peruvian featherworks, p. 3.

22 C. Fraresso, ‘Textiles et plumes divines du Pérou ancien’, in Ferrer-Joly, ed., Plumes, pp. 22–41.

23 Chimú pottery in avian shape, manufactured between 1000 and 1470 and excavated in Trujillo, is preserved in the holdings of the Museo de América (MA), Madrid: 10175 (20 × 10.1 cm); 10179 (20.5 × 18.3 cm); 10181 (20 × 12 cm, excavated at the Huaca de Tantalluc, Trujillo); 10184 (21 × 11 cm). Both later mentioned artefacts are now on display in the Museum Fünf Kontinente, Munich.

24 S. Uceda and H. King, ‘Chimú feathered offerings from Huaca de la Luna’, in King, Peruvian featherworks, pp. 69–78 and on-site observations in Trujillo.

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27 A. Rae, Introduction to feather conservation: a one-day workshop, 26–27 May 2016, University of Cambridge Museums & Botanic Garden, handout, 2016, p. 14.

28 Herring, Art and vision, pp. 100–1.

29 Ibid., p. 148; Pillsbury, J., Potts, T., and Richter, K. N., eds., Golden kingdoms: luxury arts in the ancient Americas (Los Angeles, CA, 2017)Google Scholar.

30 Pizarro, ‘Relación del descubrimiento y conquista de los reinos del Perú’, p. 265: ‘todo guarnecido de mantas de pluma muy pintadas y muy delicadas’.

31 Herring, Art and vision, p. 6.

32 British Museum (BM), London, Am1997,Q.510, Chimú or Inca feather-work tabard, 60 × 63 cm, c. fifteenth/sixteenth century.

33 C. Giuntini, ‘Techniques and conservation of Peruvian feather mosaics’, in King, Peruvian featherworks, pp. 89–99, here p. 96.

34 Buono, A., ‘Crafts of color: Tupi tapirage in early colonial Brazil’, in Feeser, A., Goggin, M. D., and Tobin, B. F., eds., The materiality of color: the production, circulation, and application of dyes and pigments, 1400–1800 (Farnham, 2012), pp. 235–46Google Scholar, here pp. 235–6.

35 BM, Am1922,1025.19, Chimú loin-cloth with Muscovy duck feathers, c. 900–1430; Herring, Art and vision, pp. 79–116.

36 Martyr, De orbe novo decades, iv 9, 12–17: ‘Aurum gemmasque non admiror quidam, qua industria quove studio superet opus materiam stupeo.’

37 Pizarro, ‘Relación del descubrimiento y conquista de los reinos del Perú’, p. 272; Pizarro, Relation of the discovery and conquest of the kingdoms of Peru, i, pp. 265–6.

38 Soriano, W. Espinoza, ‘Migraciones internas en el reino Colla: tejedores, plumereros y alfareros del estado imperial Inca’, Chungara: Revista de Antropología Chilena, 19 (1987), pp. 243–89Google Scholar. The oars are on display in the Museum Fünf Kontinente, Munich.

39 King, Peruvian featherworks, p. 43.

40 Ibid., p. 13; Cobo, B., Inca religion and customs (1653), trans. Hamilton, R. (Austin, TX, 1990), pp. 223–6Google Scholar; de Betanzos, J., Narratives of the Incas (1557), trans. Hamilton, R. (Austin, TX, 1996), p. 105Google Scholar.

41 de la Vega, G., First part of the royal commentaries of the Yncas, ed. Markham, C. R. (2 vols., London, 1871), ii, pp. 179–80Google Scholar, 205; de la Vega, G., Royal commentaries of the Incas and general history of Peru abridged, ed. Spalding, Karen (Indianapolis, IN, and Cambridge, 2006), pp. 33, 95Google Scholar; Ferrer-Joly, ed., Plumes, p. 34. Cf. Zuidema, R. Tom, ‘Guaman Poma and the art of empire: toward an iconography of Inca royal dress’, in Andrien, K. J. and Adorno, R., eds., Transatlantic encounters: Europeans and Andeans in the sixteenth century (Berkeley, CA, 1991), pp. 151–202Google Scholar; Kilroy-Ewbank, Lauren G., ‘Fashioning a prince for all the world to see: Guaman Poma's self-portraits in the Nueva Corónica’, The Americas, 75 (2018), pp. 47–94CrossRefGoogle Scholar.

42 De la Vega, First part of the royal commentaries, ii, p. 179.

43 Archivo Departamental del Cuzco (ADC), Archivo Notarial, Protocolo, 27, fo. 1099 (26 Aug. 1590): ‘Declaro que tengo nueve plumas grandes de diferentes colores’; ‘Yten mando a don Alonso Quiguar Topa mi ligitimo hermano un bestido de manta y camiseta la manta es de ceda de la China encarnada y la camiseta de cumbe blanco del tiempo antiguo y un llaoto que se dize collchollaoto y una borla de señores llamado mascapaicha y dos duhos el uno de los Andes que llaman Rua y el otro de Chachacoma y otras plumas de naturales que se dize Uayoctica que son tres y mas dos basos pintados de diferentes colores que llaman amaro.’ I wish to thank Gabriela Ramos (Cambridge) for her generous support and for kindly sharing her fascinating research findings on and transcriptions of colonial inventories with me.

44 ADC, Archivo Notarial, Protocolo, 25, fo. 693 (14 June 1588): ‘Una cabellera e una uracaua de plumerias y dos gualcangas de la tierra e una aranua de los guancas e un collar de guaquiri e una trompeta de la tierra que llaman guaillaquipa e unas plumas que llaman supatica e una patena de plata que los yndios llaman purapura e un toldo de algodon algo nuevo y un arado de la tierra.’

45 ADC, Archivo Notarial, Protocolo, 4, fo. 666 (14 Mar. 1586): ‘Yten declaro que tengo quatro plumas grandes de colores mando a Mateo mi nieto las dos dellas y las otras dos para Francisco mi nieto porque esta es mi voluntad.’

46 ADC, Archivo Notarial, Protocolo, 2, fos. 1087–8 (5 Mar. 1562): ‘Yten declaro que tengo en mi poder unas plumas de Martin Paca yndio, que me dejo su padre al tienpo que falleçio para que se lo diese al dicho Martin, mando que se lo den, e no le devo ni tengo en mi poder otra cosa alguna.’

47 ADC, Archivo Notarial, Protocolo, 260, fo. 1719 (10 Oct. 1627): ‘Yten declaro que debo quatro plumas de regosijo a un mestiso en abitos de yndio llamado Joan Pacheco mando que se lo paguen cobrado lo que me deven de mis vienes.’

48 Brosseder, C., The power of Huacas: change and resistance in the Andean world of colonial Peru (Austin, TX, 2014), p. 344Google Scholar, referring to cases from Ambar, Huamantanga, Yaután, and Acas between 1646 and 1667.

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50 Ibid., pp. 122–3.

51 Ibid., p. 74.

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54 Ibid., pp. 45, 47.

55 Ibid., pp. 93, 133.

56 Ibid., p. 121.

57 Ibid., p. 89.

58 Ibid., pp. 49, 59, 128.

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62 ADC, Archivo Notarial, Protocolo, 260, fo. 1719 (10 Oct. 1627): ‘quatro plumas de regosijo’.

63 ADC, Archivo Notarial, Protocolo, 172, fo. 1030 (5 July 1647): ‘Mando se den a Pedro Gonsales que a de ser mi albacea quatro pesos y dos plumas de regocijo.’

64 ADC, Archivo Notarial, Protocolo, 17, fo. 61 (8 May 1568): ‘Dos plumas de Parinacocha.’

65 F. Guaman Poma de Ayala, Nueva corónica y buen gobierno (1615), Royal Danish Library, Copenhagen, GKS 2232 4°, 204 [206], 206 [208], 516 [520], 637 [651]. The source is accessible online: www.kb.dk/permalink/2006/poma/info/es/frontpage.htm.

66 Archivo General de la Nación (AGN), Archivo Notarial y Judicial, Protocolo, 34, fo. 383 (24 Aug. 1579): ‘Un cordon de sombrero de Mexico de plata. Cinco plumajes. Diez llautos.’

67 ADC, Archivo Notarial, Protocolo, 98, fo. 266 (21 May 1657): ‘un penacho de plumas de Castilla blancas y verdes que costó mucha plata nuevo que me pidió prestado’.

68 S. Hanß, ‘Making feather-work in early modern Europe’, in S. Burghartz, L. Burkart, C. Göttler, and U. Rublack, eds., Materialized identities: objects, affects and effects in early modern culture, 1450–1750 (forthcoming); S. Hanß, ‘Material cross-referentiality: feathers and hats in the early modern Spanish world’ (work in progress).

69 Guaman Poma de Ayala, Nueva corónica y buen gobierno (1615), 394 [396], 449 [451], 460 [462], 488 [492].

70 Phipps, Hecht, and Esteras Martín, Colonial Andes, p. 267.

71 MA, 12344, feather-work tapestry, 238 × 160 cm, viceroyalty of Peru, c. 1650–1750; MA, 12345, feather-work tapestry, 200 × 149 cm, viceroyalty of Peru, c. 1700–1800; Ramos, M. Amezaga, ‘Restauración de plumería sobre tejido en el Museo de América: aplicación de nuevas tecnologías’, Anales del Museo de América, 14 (2006), pp. 381–406Google Scholar.

72 Salomon and Urioste, Huarochirí manuscript, p. 55.

73 Elena Phipps, ‘The Iberian globe: textile traditions and trade in Latin America’, in Peck, ed., Interwoven globe, pp. 28–45, here pp. 32, 37–8.

74 Ibid.; Arguedas, J. M. and Duviols, P., eds., Dioses y hombres de Huarochirí: Narración quechua recogida por Francisco de Avila [¿1598?] (Lima, 1966), p. 209Google Scholar.

75 MA, 12344, feather-work tapestry, 238 × 160 cm, viceroyalty of Peru, c. 1650–1750; MA, 12345, feather-work tapestry, 200 × 149 cm, viceroyalty of Peru, c. 1700–1800.

76 BM, Am2006,Q.12, feather-work textile, Peru, 81 × 54 cm, c. 1530–1660.

77 I analysed the artefact with the digital microscope. Cf. Dransart, P. and Wolf, H., Textiles from the Andes (London, 2011), pp. 70–1Google Scholar; Herring, Art and vision, p. 42.

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103 Hanß, ‘Making feather-work in early modern Europe’.

104 Archivo General de Palacio, Madrid, sección de expedientes personales, caja 813 Expediente 41. On feather-workers at the Spanish court, see Hanß, ‘Material cross-referentiality’.

105 S. Hanß, Court and material culture in early modern Germany: a sourcebook on the duke of Württemberg's payments to artisans, Stuttgart, 1592–1628 (Amsterdam, forthcoming).

106 The Art Institute of Chicago, 1927.1779a–b, The Institution of the Eucharist at the Last Supper with St Peter and St Paul, embroidered retable with predella, 254 × 213 cm, Spain, c. 1468.

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