“Ingenious topic, gorgeous illustrations, brilliant design and drawings, and lucid text-the best book published on pre-Columbian textiles.”

Cathryn Cootner Emeritus Curator of Textiles de Young Museum, San Francisco

“A visually exciting book that provides a wonderful entré into the fabulous field of pre-Columbian textiles.”

Lotus Stack Curator of Textiles Minneapolis Art Institute

“The next best thing to holding these vibrant, colorful textiles in your hands.”

Keith Muscutt author of Warriors of the Clouds

Animal Myth and Magic explores animal symbolism in ancient Andean textile art and society through the prism of archaeology, anthropology and myth. Over forty-five species (from the hummingbird and butterfly to the llama and jaguar) are interpreted through depictions which span 2000 years of culture—Chavin to Inca—and reflect the extraordinary inventiveness of pre-Columbian artistic styles and techniques.

Hardbound cloth covered book, 9.5"x12" 160 pages, 155 color plates, 10 line drawings

ISBN 0-9767774-0-1 Published by OLOLOPress

Animal Myth and Magic

Images from Pre-Columbian Textiles

BY VANESSA DRAKE MORAGA

“Not since the publication of Raoul D’Harcourt’s The Textiles of Ancient Peru and Their Techniqueshave we experienced a volume on pre-Colombian fabrics covering so broad a swath of style and structure. Superbly photographed, with so many nearly full scale, this is a feast of many courses—richly fulfilling.”

Jack Lenor Larsen Textile Designer, Author President Emeritus-American Crafts Council

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PRE-COLUMBIAN TEXTILES | MOROCCAN WEAVINGS | CHIN TEXTILES OF MYANMUR, INDIA AND BANGLADESH BOOKS

Animal Myth and Magic Images from Pre-Columbian Textiles Vanessa Drake Moraga Ololo Press, Larkspur 2005 164pp., 155 colour illustrations, 10 line drawings, timeline, bibliography ISBN 0976777401 Hardbound $85

Ancient Andean peoples, who occupied a region now encompassed within the modern nations of Colombia, Ecuador, Peru, Bolivia, Chile and Argentina, are widely acknowledged to have developed one of humankind’s great textile traditions. The earliest twined fabrics were created by about 3000 BC . In the millenniathat followed, using cotton and camelid fibre, a succession of styles developed, characterised by rich colours, bold patterns, and an extraordinarily wide variety of techniques. These range from simple plainweaves to such astonishingly complex techniques as triple-cloth or evenquadruplecloth; plainweave with discontinuous warps and wefts; complex gauze; and double-cloth sprang. Indeed, for some specialists, the technological mastery embodied in ancient Andean textiles eclipses in importance the visual beauty and communicative function of the works. But while ancient Andeans undoubtedly appreciated extraordinary craftsmanship, they were perhaps less preoccupied and over-awed by it than are the people of today, so accustomed to machine-made, mass-produced fabrics. Vanessa Moraga’s Animal Myth

and Magic deliberately de-emphasises technique to focus instead on imagery and aesthetics. While stripes, plaids and other abstract patterns were common, much Andean textile imagery is representational, and depicts humans,animals, plants, and supernaturalbeings. In this book, the author concentrates on specific representational subject matter – the mammals, birds, reptiles, fish, crustaceans and insects of the geographicallydiverse Andean environment. She organises these into three large categories: Earth, Water and Sky. Within each category are both individual species and related groups of species (for instance, llama, alpacas, vicuñas and guanacos are treated together). For each faunal grouping, Moraga illustrates a cross-cultural selection of woven images (usually individualmotifs, or fragments from larger garments), and discusses at some length the ancient beliefs that surrounded the creatures. Although not herself a specialist in zoology, archaeology, or ethnology, she draws from a wide range of scholarly literature, using it to explore both the natural characteristics and behaviour of the animals, and the cultural meanings attached to individual species by indigenous South Americans. She is careful to cite her sources, directing interested readers to the extensive specialised scholarly literature on both Andean and Amazonian peoples. Moraga has an exceptional vocabulary and uses it to good effect – her prose is lively and engaging, and never lapses into academic jargon. Some well-known animals can be readily interpreted. Jaguars, powerful predators revered throughout the Americas, are the protagonists of numerous South American recorded legends, both ancient and modern. In addition to textile representations, they figured prominently in other media – stone-carving, pottery, and wood. Jaguars thus provide ample data for cross-cultural comparison and interpretation. Other, less charismatic creatures are discussed in depth as

well, including small cats, coatis, fish, crustaceans and insects. Moraga has uncovered numerous intriguing natural characteristics which she connects to cosmological beliefsand myths from a variety of coastal, mountain and tropical forest peoples. In this, the volume serves as a valuable resource for those who seek to understand not only the natural environment, but also how that environment was interpreted by ancient Andean artists. Of course, many Andean textile images are not readily identified with any precision. Some are simply too generalised to be identified with a particular species, while others clearly display combinations of traits not found in nature. Moraga makes a valiant attempt to identify the depictions as precisely as possible, and to seek the underlying logic that might lead an Andean artist to depict a creature with a feline head, human hands, wings, and what may be a fish’s tail. Undoubtedly some of her interpretations will be superseded or revised, but that is to be expected in an actively expanding and evolving area of study. The images in Animal Myth and Magicare drawn from a single private collection, one that was assembled on the basis of imagery and aesthetics, rather than technique or style. The author judged (correctly) that there is an audience among Andean specialists for a beautiful book filled with highquality textile illustrations, most of which are previously unpublished. Some represent very rare types, including Pucara-shaped tapestries; threedimensional knotted or twined humans, animals and snakes; and two-colour brocadedcloths depicting fantastic animals. But this book will also appeal to a much broader audience, from textile artists and aficionados to anyone interested in ancient religion and mythology, or the interrelationship between man and nature. Teachers of all levels, from elementary schools through to universities, will find it to be

an important resource on South American art and culture. A few additions would have strengthened the book’s usefulness – most importantly maps showing the major cultures and sites and their locations relative to the region’s major geographic and climatic zones. Additionally, photographs of some of the archaeological sites and monuments referred to in the text would have been helpful (although she provides references to published images).This volume’s attractive design, beautiful images, and wellorganised, intriguing subject matter make it an extremely welcome addition to the field of Andean art and culture. Margaret Young-Sánchez, Frederick & Jan Mayer Curator of preColumbian Art, Denver Art Museum

Mantles of Merit Chin Textiles from Myanmar, India and Bangladesh David W. & Barbara G. Fraser River Books, Bangkok 2005 288pp., 650 colour illustrations, map,bibliography, index ISBN 9749863011 Hardbound $60

This excellent book, loosely linked to an exhibition. ‘Textiles of the Burma Hills’, at the University of Pennsylvania in Philadelphia in summer 2005 (HALI 139, p.43) makes a major contribution to our knowledge of textiles produced by the Chin people of Myanmar (Burma), India and Bangladesh. David and Barbara Fraser travelled extensively to interview villagers, particularly weavers, and have

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