Fig. 13. Wari artist. Feathered panel. Churunga Valley, Peru, 600–900. Feathers, cotton, camelid 昀椀ber, 27 × 83 ⼀攀 in. (68.6 × 211.5 cm). The Metropolitan Museum of Art, New York, The Michael C. Rockefeller Memorial Collection, Bequest of Nelson A. Rockefeller, 1979 (1979.206.904) and half black or magenta. Toward the center of the gar- slopes of the Andean mountains, were carefully knotted ment, the motif is wider, but as it approaches the sides, it is on cotton strings that were layered to create plush sur- compressed beyond recognition as the 昀椀gurative imagery faces on garments and wall hangings that may have once graced the interior of a very grand building.10 dissolves into geometric abstraction. Most of the The Wari’s imperial reach extended not only to the extant panels are divided into quadrants, two blue and coast but also eastward, where such precious goods as two yellow, arranged in a checkerboard fashion, but a few tropical bird feathers could be obtained. Feathers from were constructed using only yellow or, in rare cases, red the blue-and-yellow macaw, a bird native to the eastern feathers (昀椀g. 13). Some ninety-six of these large feather Fig. 14a–c. Ica artists. Miniature dresses. Ica Valley, Peru, 12th–13th century. Cotton, feathers. 1979.206.628: 8 ⼀欀 × 8 ⼀攀 in. (21.3 × 21 cm); 1979.206.639: 8 ⼀最 × 8 ⼀洀 in. (22.2 × 21.9 cm); 1979.206.626: 9 ⼀挀 × 8 ⼀漀 in. (24.1 × 22.5 cm). The Metropolitan Museum of Art, New York, The Michael C. Rockefeller Memorial Collection, Bequest of Nelson A. Rockefeller, 1979 14