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Throughout the pre-Columbian Andes, the tunic was an essential element of male dress, not just a garment, but also a visible means of displaying ethnic identity, social status and rank. Tunics were created by weaving two long strips of cloth, then doubling each, sewing up a center line of the tunic up to a neck hole, and the sides to close the garment under the wearer’s arms. Such a well-preserved tunic was likely included as an offering in a grave or tomb. The visual power of this piece stems from its combination of broad bands of colors in stepped patterns.

Page data

Page
4
Source index
0
Type
photo
Media ID
dfbe89f7ffc61b97
Size
unknown

Document data

ID
85447
Core
obj
Type
object
DTO data
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    "title": "Tunic",
    "description": "Throughout the pre-Columbian Andes, the tunic was an essential element of male dress, not just a garment, but also a visible means of displaying ethnic identity, social status and rank. Tunics were created by weaving two long strips of cloth, then doubling each, sewing up a center line of the tunic up to a neck hole, and the sides to close the garment under the wearer’s arms. Such a well-preserved tunic was likely included as an offering in a grave or tomb. The visual power of this piece stems from its combination of broad bands of colors in stepped patterns.",
    "provenance": "Purchased by Georgia de Havenon, New York; given to Walters Art Museum, 2016.",
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Context sent to Scholar

Document identity
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    "citationUrl": "https://purl.thewalters.org/art/2011.20.1"
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Document source metadata
{
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    "contentType": "object",
    "stage": "normalized",
    "title": "Tunic",
    "description": "Throughout the pre-Columbian Andes, the tunic was an essential element of male dress, not just a garment, but also a visible means of displaying ethnic identity, social status and rank. Tunics were created by weaving two long strips of cloth, then doubling each, sewing up a center line of the tunic up to a neck hole, and the sides to close the garment under the wearer’s arms. Such a well-preserved tunic was likely included as an offering in a grave or tomb. The visual power of this piece stems from its combination of broad bands of colors in stepped patterns.",
    "provenance": "Purchased by Georgia de Havenon, New York; given to Walters Art Museum, 2016.",
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Document source extras
{
    "cul": "Nazca",
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Page context
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