A very rare buriel authentic pillow from a Chancay grave, Ex. Jan Pelle collection (Lyngbye collection), brought in South Amerca in the 1960s.
The large pillow is mounted with 2 female figures, perhaps representing a dead mother and child or more likely dead sisters. They are holding hands.
As typical for the authentic dolls of Chancay, the faces are tapestry wowen and their garments was made for the particular doll, whereas the dolls made in the 1950s-2000s were made from old pieces of different textiles. The pillow is also tapestry wowen in a particular fine pattern.
Size: ca. 35 cm. ny 30 cm. and very thick as well.
Condition: Superb for type, a few places with smaller holes, but still with the original stuffing of reed.
background: M. K. Hodnett conducted a thorough study of over one hundred dolls in the Amano Museum in Lima, Peru. Her close analysis of the dolls reveals recurring motifs in the doll’s construction: tapestry-woven faces, camelid fibers imitating human hair, gendered garments, ornaments, musical instruments, things held in hands, and activities of multiple dolls attached to a single platform. For example, she distinguishes male and female dolls by both the garments worn and patterns on their faces; females have several variations of diagonal stepped patterns, while the male pattern of three triangular sections is more standardized. The faces of both genders, however, have dramatic facial features: diamond shaped eyes of either black or white outlined with the opposite and rectangular mouths with square teeth alternating from black to white. Moreover, the garments all appear to be woven specifically for the dolls. She also describes several dolls that are part of larger tableaux. These scenes vary from platforms on which dolls dance around a tree to an open-faced cloth cube in which a musician, a dancer, a cupbearer, and others surround two finely dressed figures. While Hodnett’s study ends with many questions, she concludes that the dolls’ similarity in features and physical proximity in archaeological sites suggests that they were produced in a small area or by a workshop (16–24, 38–53, 60). This is a widely accepted interpretation of the creation of Peruvian textiles; other scholars have discussed the highly organized, hierarchical social structure of early cultures in the area and its relation to the production of a large quantity of high quality textiles (Stone- Miller 17; Paul 378–387), cited from Maggie Ordon 'Peruvian Dolls: A Bridge Between the Past and Present'.