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This tunic border shows the love of complementary dualities that is, as art historian Tom Cummins has written, “…a social principal and an aesthetic ideal in the Andes.” In this piece, diagonally divided squares with reversed stepped fret patterns and dots of a contrasting color are interspersed with rectangles featuring two heads of figures with feathered rays emanating from them, demonstrating this duality. These deity figures are very simplified copies of the figure at the center of Tiwanaku's Gateway of the Sun monument, showing a central or solar deity. While the stepped fret is a more abstract symbol, some scholars have suggested that in the extremely arid region of the Nazca Valley, the stepped patterns may actually reference water’s flow along the irrigation channels the Nazca people painstakingly created in their desert region.