Inca

Tocapus, Ceramics &

Queros
Amy Brown
1st February 2015

H i s t o r y o f T h e I n c a C i v i l i z a t i o n

U n i v e r s i d a d S a n I g n a c i o D e L o y o l a

Inca Tocapus, Ceramics & Queros

Amy Brown February 1, 2015

Table of Contents
Introduction ............................................................................................................................. 2

Tocapus ..................................................................................................................................... 4

Aribalos ..................................................................................................................................... 6

Queros ........................................................................................................................................ 8

Last word .................................................................................................................................. 9

References ............................................................................................................................. 10

Inca Tocapus, Ceramics & Queros

Amy Brown February 1, 2015

Introduction
The Incas were very artistic people who created practical yet beautiful textiles
and pottery. Inca art was inherited from cultures predating the Inca Empire by
many years. They took what they thought was important and useful from them
and perfected it adapting forms of art to their own needs and likes. The majority
of designs were carried through from previous generations, with slight variety
and improvement. Inca pottery, in particular, was much more advanced than that
of its predecessors.

The Inca people were skillful craftsmen, working in Ayllus each specialising in
certain types of craft such as pottery or weaving. The designs also held a strong
religious and symbolic meaning. Their production was taken to all parts of the
empire and distributed, like a centralised economy. Creations were sourced from
the natural materials available to them and were used in an artistic yet utilitarian
way, producing things that were to be used in everyday life.

Inca Tocapus, Ceramics & Queros

Amy Brown February 1, 2015

Tocapus
The Inca textiles are widely recognised of great important to their culture and
civilization. The designs are intricate and beautiful, incorporating political and
spiritual aspects. Many of the garments created are known to have a particular
identity associated with them, graphically representing social and economical
rank, affiliations and royal status of the individuals who adorn them. It was
compulsory for Incas to only wear the Tocapus that represented their social
status, resulting in only few with the
privilege of wearing them.
The Tocapus from the pre-Hispanic Inca are
commonly small squares containing various
designs and geometric forms, each with their
own representation. Many of the designs
were adopted and manipulated from
previous cultures, in particular the Wari
people. These squares were woven onto
fabrics creating beautiful tapestry and
important garments such as the mens tunic,
namely the Unku. They were also painted
onto ceramics such as the Arbalo and
ceremonial drinking vessels known as
Queros. Tocapus have also been discovered on metal
objects, weapons, shell and precious stones.

Metal plaque of winged feline

featuring belt of Tocapus

The Tocapus are usually arranged in rows, made from one or more alternating
designs. It is understood that the way in which the squares were ordered or
arranged representative of the order of social status and importance.
Furthermore, extensive research has concluded that the Tocapus may also have
aspects of a written language yet to be interpreted. This system is similar to the
Quipu, however there is very little understanding of the specific meaning of the
Tocapu symbols and what they represent individually.
The Unku is a traditional Andean male tunic, a common garment that was worn
on daily basis. The elite wore Unkus with Tocapus woven in different patterns,
dependant on their status. These garments were known to be very restricted.
Four major designs that have been identified include:
The Inca key
Black-and-white
checkerboard
Diamond key
Tocapu waistband
The most common of these four
designs are the Inca key and black-
and-white checkerboard, worn by
military and the elite.
The Inca Key

Checkerboard

Inca Tocapus, Ceramics & Queros

Amy Brown February 1, 2015

The manufacturing and distribution of textiles within the Inca Empire was of
high importance to the culture. Not only to represent social standing and
affiliation, but also used as a political currency. Possession of an enemys textile
represented victory, linking a warriors success to his collection of garments. In
contrast to politics and society, the textiles
also played an important role in the religious
ceremonies of the Inca culture, also used to
adorn the dead.

Following the Spanish conquest, clothing
restrictions became obsolete. The Spanish
removed the strict regulations, allowing
anyone to wear what they pleased. This
completely obliterated the distinction of
social rankings represented by clothing,
changing the significance and style of the
Unku dramatically. However, despite the
modifications of textiles and designs over the
many hundreds of years, the influence of the
Incas is still present in the fabrics and
Manco Capac illustrated in Unku featuring
tapestry of today.
Tocapu waistband

No fixed order of Tocapus

Zig Zag Tocapu pattern

Inca Tocapus, Ceramics & Queros

Amy Brown February 1, 2015

Arbalos
The ceramics and pottery of the Incas were of great importance to the
civilization. The discovery of certain ceramics has given archaeologists a great
insight to the geographic and ritualistic aspects of the Inca culture. Many have
interpreted communication systems through the visual aspects of the ceramics,
very similar to that of the graphics and geometry present on the Tocapus.
The Incan Arbalo is the most
prevalent design of Incan
ceramics. Its form is easily
identified a flared mouth,
long neck, big body and conical
base. The Arbalo also features
two handles on either side,
commonly used to loop a rope
through, allowing ease when
transporting water and other
beverages, most commonly
chicha. The conical base was
incorporated to allow the
Arbalo to establish a hole in
the ground, keeping the vessel
balanced and easier to pour.
Distinct features of the Arbalo

The decorations that adorn the Arbalos are painted in various colours,
commonly featuring brown, red, white, orange, yellow and black. Tocapus are
also a typical feature.

From the archaeological findings of Incan pottery, Arbalos account for 39
percent with the next most common vessel type being the shallow plate. The size
range of vessels that have been recovered is quite extreme, with the smallest
measuring at 5-10cm tall to
the extra large measuring
around 120cm in height, and
a variety of sizes in between.
Information indicates that the
smaller vessels are linked to
ritual and religious practices
and associated with material
well-being, prosperity,
fertility and ancestor
worship. Discovery of these
smaller vessels has been
more common is Cusco and
also at various burial sites.
The collection of smaller

Inca Tocapus, Ceramics & Queros

Amy Brown February 1, 2015

vessels predominantly at the core of the empire indicates that perhaps the use of
such vessels may have been an ethnic Inca tradition and not so much diffused
among the subject population. Whilst the extra large Arbalos are quite rare, the
discoveries have been more predominant in the heartland of the empire. This
suggests that these enormous vessels may have been intended for special
occasions such as coronations and religious ceremonies held specifically in the
capital.

Typical Arbalos contain one of three patterns:
Central segment of concentric rhomboids vertically arranged and flanked
on each side by rows of black triangles
Central section of two vertical bands composed of double x and
alternating bars alternated and flanked by a tree motif or rows of
pending triangles
Central section composed by horizontal rhomboids/diamonds

Based on archaeological discoveries, the third pattern has proven to be the most
popular, occasionally featuring alternative patterns such as zigzag lines.

There have been many observations in regards to the symbolic meaning of these
patterns. The predominant suggestion is that the patterns link metaphorically to
the human body, with vertical patterns representing the spine. Another
considers a
genealogical
symbolism,
referencing an
individual as two
halves - the mother
and the father. There
is also a clear
correspondence
between the design
features of mens
Unkus and those of
the Arbalo.

The observation of
sizes and even
decorative features
of the vessels discovered at particular locations could perhaps indicate the
different traditions and ceremonial routines of the Incas depending on their
geography.

Inca Tocapus, Ceramics & Queros

Amy Brown February 1, 2015

Queros
The Quero is another example of the Incas taking inspiration from their
predecessors. Quero, often written as Kero or Qero, originates from the
Quechua word meaning wood and was first created by the Tiwanaku culture,
later to be adopted by the Incas.

The ceremonial Quero cups were typically used in pairs as a custom for
individuals to drink together. Both vessels would
be identical in shape, size and design and were
used to toast with chicha at ceremonies. This
represented a strong religious association with
the Quero, with chicha served as an important
ritual beverage also connected to sacrificial
ceremonies. Queros may also have been gifted
with textiles as a sign of generosity.

Originally made from mud and clay, Queros were
later created from ceramic and decorated with
bright colours; predominantly red, orange, white
and black. The painted decorations also featured
geometric patterns, quite often including
Tocapus. Queros were later produced from
carved wood.

Inca Tocapus, Ceramics & Queros

Amy Brown February 1, 2015

Last word
The art of the Incas has given historians and archeologists a more in-depth
insight into their fascinating culture and way of life. As no written evidence was
left behind from the Incas, everything we know about their lives has been passed
on through generations from the interpretations and geology of artifacts
discovered by archeologists. The Incas divine artistic skill has been a great gift to
the descendants of their generation, allowing us even the slightest insight into
the way that they lived, their ritual practices and rich culture that we are
continually influenced by today.

Inca Tocapus, Ceramics & Queros

Amy Brown February 1, 2015

References

Burger, RL, Morris, C, Mendieta, RM, Pillsbury, J, Quilter, J 2007, Variations in the
Expression of Inka Power: A Symposium at Dumbarton Oaks, Dumbarton Oaks

Strong, M 2012, Art, Nature, and Religion in the Central Andes: Themes and
Variations from Prehistory to the Present, University of Texas Press

Cummins, TBF 2002, Toasts with the Inca: Andean Abstraction and Colonial
Images on Quero Vessels, University of Michigan Press

Jennings, J, Bowser, BJ 2009, Drink, Power, and Society in the Andes, University
Press of Florida

Kero, Wikipedia, 16 August 2014, retrieved 1/02/15,
<http://en.wikipedia.org/wiki/Kero>

Clados, C 2012, retrieved 31/01/15, <http://tocapu.org/index.php>

Daly, M 2013, Capstone Research Paper, Georgia College, retrieved 31/01/15,
<http://www.gcsu.edu/math/docs/2013Capstone/daly.pdf>

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