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Paracas Art and Architecture: Object and Context in South Coastal Peru by Anne Paul, Publisher: University of Iowa Press, 1991 ISBN 0-87745-327-6; Ancient Peruvian Textiles by Ferdinand Anton, Publisher: Thames & Hudson, 1987, ISBN 0-500-01402-7
The next grade of Inca weaving was known as awaska. Of all the ancient Peruvian textiles, this was the grade most commonly used in the production of Inca clothing. Awaska was made from llama or alpaca wool and had a much higher thread count (approximately 120 threads per inch) than that found in chusi cloth.
The settlements in Lauri, Lumbra, Tambo Blanco, Handrail, Pisquillo Chico and Tronconal focused mainly on artisans producing large-scale ceramics and textiles. The Chancay culture is the first of the Peruvian cultures that had mass production of ceramics, textiles and metals such as gold and silver which were ritualistic and domestic goods.
Although the art of the Chancay culture—especially their textiles and ceramics—is well represented, little is known about the social structure of this ancient people group.
Mantle ("The Paracas Textile"), 100-300 C.E. Cotton, camelid fiber, textile: Brooklyn Museum Detail of one shaman showing knife and head. The Paracas textiles were found at a necropolis in Peru in the 1920s. The necropolis held 420 bodies who had been mummified and wrapped in embroidered textiles of the Paracas culture in 200–300 BCE. [1]
While humans have created textiles since the dawn of culture, many are fragile and disintegrate rapidly. Ancient textiles are preserved only by special environmental conditions. The oldest known textiles in the Americas are some early fiberwork found in Guitarrero Cave, Peru dating back to 10,100 to 9,080 BCE. [3]
Nazca Female Effigy Figure, made of sperm whale tooth, shell and hair. The Nazca culture (also Nasca) was the archaeological culture that flourished from c. 100 BC to 800 AD beside the arid, southern coast of Peru in the river valleys of the Rio Grande de Nazca drainage and the Ica Valley. [1]
Peruvian sculpture and painting began to define themselves from the ateliers founded by monks, who were strongly influenced by the Sevillian Baroque School.In this context, the stalls of the Cathedral choir, the fountain of the Main Square of Lima [2] both by Pedro de Noguera, and a great part of the colonial production were registered.