The graphic heritage of the tocapus in the pallay of Chinchero fabrics
DOI:
https://doi.org/10.15381/escrypensam.v21i43.21873Keywords:
tocapus, textile iconography, Chinchero, pallay, graphic continuityAbstract
In Ancient Peru, the importance of textiles is distinguished by their high quality and aesthetic richness, but above all by their function as a support for the transmission of information and as a complement to oral memory. Within the variety of images represented in this medium, the tocapus stood out, a graphic language that during the Tahuantinsuyo was part of a communication system (Eeckhout 2004). The meaning of the tocapus was lost (Murúa, ([1613] 1946), however, during the colony it maintained a continuity of representation in the fabrics and in the keros. Our objective is to identify the relationships of the Inca tocapus and its link with the graphic language of the Pallay in the textile community of Chinchero, one of the main pre-Hispanic foci of fabric production in the department of Cusco. This research is descriptive in nature. We carried out a formal analysis of an Inca fabric with Tocapus and obtained compositional patterns that we used to compare with the current textile iconography of Chinchero. For this we have based ourselves on ethnohistoric sources, literature on visual syntax and semiotics of the image, as well as field work carried out in textile centers of the community. The results obtained allow us to infer that the graphic language of the tocapus remains in the Andean designs, as a visual vestige that was modified and adapted to the new narratives of the Andean social context through the centuries.
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