[Federal Register: December 7, 2001 (Volume 66, Number 236)]
[Rules and Regulations]
[Page 63490-63499]
From the Federal Register Online via GPO Access [wais.access.gpo.gov]
[DOCID:fr07de01-3]

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DEPARTMENT OF THE TREASURY

Customs Service

19 CFR PART 12

[T.D. 01-86]
RIN 1515-AC95

Import Restrictions Imposed on Archaeological and Ethnological
Materials From Bolivia

AGENCY: Customs Service, Treasury.

ACTION: Final rule.

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SUMMARY: This document amends the Customs Regulations to reflect the
imposition of import restrictions on certain archaeological and
ethnological materials originating in Bolivia. These restrictions are
being imposed pursuant to an agreement between the United States and
Bolivia that has been entered into under the authority of the
Convention on Cultural Property Implementation Act in accordance with
the 1970 United Nations Educational, Scientific and Cultural
Organization (UNESCO) Convention on the Means of Prohibiting and
Preventing the Illicit Import, Export and Transfer of Ownership of
Cultural Property. The document amends the Customs Regulations by
adding Bolivia to the list of countries for which an agreement has been
entered into for imposing import restrictions. The document also
contains the ``Designated List of Archaeological and Ethnological
Material From Bolivia'' that describes the types of articles to which
the restrictions apply.

EFFECTIVE DATE: December 7, 2001.

FOR FURTHER INFORMATION CONTACT: (Legal Aspects) Joseph Howard,
Intellectual Property Rights Branch (202) 927-2336; (Operational
Aspects) Al Morawski, Trade Operations (202) 927-0402.

SUPPLEMENTARY INFORMATION:

Background

    The value of cultural property, whether archaeological or
ethnological in nature, is immeasurable. Such items often constitute
the very essence of a society and convey important information
concerning a people's origin, history, and traditional setting. The
importance and popularity of such items regrettably makes them targets
of theft, encourages clandestine looting of archaeological sites, and
results in their illegal export and import.
    The U.S. shares in the international concern for the need to
protect endangered cultural property. The appearance in the U.S. of
stolen or illegally exported artifacts from other

[[Page 63491]]

countries where there has been pillage has, on occasion, strained our
foreign and cultural relations. This situation, combined with the
concerns of museum, archaeological, and scholarly communities, was
recognized by the President and Congress. It became apparent that it
was in the national interest for the U.S. to join with other countries
to control illegal trafficking of such articles in international
commerce.
    The U.S. joined international efforts and actively participated in
deliberations resulting in the 1970 UNESCO Convention on the Means of
Prohibiting and Preventing the Illicit Import, Export and Transfer of
Ownership of Cultural Property (823 U.N.T.S. 231 (1972)). U.S.
acceptance of the 1970 UNESCO Convention was codified into U.S. law as
the ``Convention on Cultural Property Implementation Act'' (Pub.L. 97-
446, 19 U.S.C. 2601 et seq.) (``the Act''). This was done to promote
U.S. leadership in achieving greater international cooperation towards
preserving cultural treasures that are of importance to the nations
from where they originate and to achieving greater international
understanding of mankind's common heritage.
    During the past several years, import restrictions have been
imposed on archaeological and ethnological artifacts of a number of
signatory nations. These restrictions have been imposed as a result of
requests for protection received from those nations as well as pursuant
to bilateral agreements between the United States and other countries.
More information on import restrictions can be found on the
International Cultural Property Protection Web site (http://
culturalheritage.state.gov).
    Import restrictions are now being imposed on certain archaeological
and ethnological materials originating in Bolivia as the result of a
bilateral agreement entered into between the United States and Bolivia
(the Agreement). The Agreement was entered into on December 4, 2001,
pursuant to the provisions of 19 U.S.C. 2602. The archaeological
materials subject to the Agreement represent pre-Columbian cultures of
Bolivia and range in date from approximately 10,000 B.C. to A.D. 1532.
The ethnological materials subject to the Agreement are from the
Colonial and Republican periods and range in date from A.D. 1533 to
1900.
    Accordingly, Sec. 12.104g(a) of the Customs Regulations is being
amended to indicate that restrictions have been imposed pursuant to the
Agreement between the United States and Bolivia. This document amends
the regulations by imposing import restrictions on certain
archaeological and ethnological materials from Bolivia as described
below.
    It is noted that emergency import restrictions on antique
ceremonial textiles from Coroma, Bolivia were previously imposed but
are no longer in effect.(See T.D. 89-37, published in the Federal
Register (54 FR 17529) on March 14, 1989, and T.D. 93-34 published in
the Federal Register (58 FR 29348) on May 20, 1993.) The restrictions
published in this document are separate and independent from these
previously imposed emergency import restrictions. This document removes
the reference in the Customs Regulations in Sec. 12.104g(b) to these
expired emergency import restrictions.

Material Encompassed in Import Restrictions

    In reaching the decision to recommend protection for the cultural
patrimony of Bolivia, the Acting Assistant Secretary for Educational
and Cultural Affairs of the U. S. State Department determined, pursuant
to the requirements of the Act, that the cultural patrimony of Bolivia
is in jeopardy from the pillage of archaeological and ethnological
materials and this pillage is widespread, on-going, and systematically
destroying the non-renewable archaeological and ethnological record of
Bolivia.
    The archaeological materials which are the subject of the Acting
Assistant Secretary's determination represent pre-Columbian cultures of
Bolivia, range in date from approximately 10,000 B.C. to A.D. 1532, and
include: (1) Objects comprised of textiles, featherwork, ceramics,
metals, and lithics (stone); and (2) perishable remains, such as bone,
human remains, wood, and basketry that represent cultures including but
not limited to the Formative Cultures (such as Wankarani and Chiripa,
Tiwanaku, and Inca), Tropical Lowland Cultures, and Aymara Kingdom. The
ethnological materials which are the subject of the Acting Assistant
Secretary's determination represent the Colonial and Republican
periods, range in date from A.D. 1533 to 1900, and include: (1) Objects
of indigenous manufacture and ritual, sumptuary, or funeral use related
to the pre-Columbian past, which may include masks, wood, musical
instruments, textiles, featherwork, and ceramics; and (2) objects used
for rituals and religious ceremonies, including Colonial religious art,
such as paintings and sculpture, reliquaries, altars, altar objects,
and liturgical vestments.
    The Acting Assistant Secretary also determined, pursuant to the
requirements of the Act, that the archaeological materials covered by
the Agreement are of cultural significance because they derive from
numerous cultures that developed autonomously in the Andean region and
attained a high degree of technological, agricultural, and artistic
achievement, but whose underlying political, economic, and religious
systems remain poorly understood. Also, the archaeological materials
represent a legacy that serves as a source of identity and pride for
the modern Bolivian nation. The Acting Assistant Secretary determined
that the ethnological materials play an essential and irreplaceable
role in indigenous Bolivian communities and are vested with symbolic
and historic meaning. They are used in ceremonial and ritualistic
practices and frequently serve as marks of identity within the society.
Serving as testimony to the continuation of pre-Columbian cultural
elements despite European political domination, they form an emblem of
national pride in a society that is largely indigenous.
    Also, pursuant to the requirements of the Act, the Acting Assistant
Secretary determined that Bolivia has taken measures consistent with
the Convention to protect its cultural patrimony, and that the
application of import restrictions set forth in Section 307 of the Act
is consistent with the general interest of the international community
in the interchange of cultural property among nations for scientific,
cultural, and educational purposes.

Designated List

    The bilateral agreement between Bolivia and the United States
covers the categories of artifacts described in a ``Designated List of
Archaeological and Ethnological Material from Bolivia,'' which is set
forth below. Importation of articles on this list is restricted unless
the articles are accompanied by an appropriate export certificate
issued by the Government of Bolivia or documentation demonstrating that
the articles left the country of origin prior to the effective date of
the import restriction.

List of Archaeological and Ethnological Materials From Bolivia

Archaeological Materials

I. Pre-Columbian Ceramics
    Ceremonial, sumptuary, and funerary ceramics representing the
following principal cultures:
    A. Formative Cultures (2000 B.C.-A.D. 400)

[[Page 63492]]

    Decoration: Ceramics are monochrome in appearance from the use of
red, tan, or pale orange slip against a fire-clouded surface; some
forms are black and finely polished. Some show use of polychrome slip
paints in red, orange, black, and yellow. The surface exterior is
polished or burnished. There is some use of applique and incision.
    Forms: Plates (ch'illami), open bowls, vases, double-cylinder vases
with bridge handles, beakers with vertical handles, pitchers, incense
burners, portrait jars, handled funerary jars, boot-shaped jars,
tripod-base jars, canoe-shaped bowls, double-spout bottles, effigy jars
in the shape of humans, animals and birds, and figurines.
    Size: Varies according to form; miniatures average 2 cm. in height
while over-sized ch'illamis can average 70 cm. in width/rim diameter.
    Identifying features: Formative Period ceramics are plain in
appearance but their shapes are distinct. Some are miniature or over-
sized (bowls, or ch'illami); asymmetrical or lop-sided (boot-shaped
jars); and unconventional (beakers with vertical handles, canoe-shaped
vessels, ``genie lamp'' shape).
    Styles: Formative Period style ceramics are distributed throughout
Bolivia. These include: Chiripa, Fluke, Kaluyo/Qaluyu, Wankarani, Salar
de Uyuni, Urus, Chipayas, Tupuraya, Mojocoya, Pocona, Mizque, Aiquile,
Beni, Pando, Santa Cruz regions, and Mojenas styles. Other terms used
include: Quillacollo, Cliza, Llampara, Inquisivi, Navillera, Tapacari,
Capinota, Parotani, Chullpa Pampa, Sacaba, Tiraque, Chullpa Pata, Santa
Lucia, Arani, Sierra Mokho, and Sauces.
B. Wankarani (1600 B.C.-A.D. 100)
    Decoration: Typically monochrome, slipped vessels in red or black
and well-polished. Black stripes against a red surface are also common.
Incision, punctate, and applique are used for surface decoration on
effigy vessels.
    Forms: Plates (ch'illami), open bowls, vases, beakers with vertical
handles, pitchers, incense burners, portrait jars, double-spout
bottles, funerary urns, ladles, conical vases with circular bases,
effigy jars in the shape of humans, animals and birds, and figurines.
    Size: Varies according to form.
    Identifying features: Plain forms and monochrome surface decoration
that is well-polished. Most rim edges show a slight, rounded scallop
that often gives the appearance of a misshapen vessel.
    Styles: Wankarani ceramics are limited in distribution to northeast
of Lake Titicaca and north of Lake Poopo. The term Wankarani is
sometimes used broadly to refer to all Formative Period ceramics.
C. Chiripa (1500 B.C.-A.D. 200)
    Decoration: Generally red or black slipped surfaces, with cream,
yellow, or black painted geometric designs. Effigy vessels and fineware
jars are often painted and incised. Yellow-painted, incised, and
modeled flat-based jars are distinct.
    Forms: Bowls, vases, pitchers, jars, effigy jars, and figurines.
Flat-based restricted bowls with small, animal-shaped lug handles are
common.
    Size: Varies according to form.
    Identifying features: Yellow-or cream-painted on red, incised, and
modeled flat-based jars and bowls are distinct. The walls of the
vessels are thick (5 cm. to 8 cm.) and the rims are thickened. The
painted decoration is geometric, rendered in wide strokes.
    Style: Linked to the Wankarani and Tiwanaku I styles of the
Bolivian highlands.
D. Tiwanaku (A.D. 600-1200)
    Decoration: Well-fired (hard), polychrome pottery in black on red
or combined black, red, yellow, orange, gray, brown, and white. Design
motifs include human and divine representations, pumas, jaguars, birds,
and geometric elements. On many beakers, the design is complex. Plastic
decoration includes modeling, incision, and applique.
    Forms: Bowls, plates, urns, vases, lebrillos, flat-bottomed
beakers, incense burners (sahumerios), lamps (mechero), effigy jars,
portrait vessels, bottles, flat-bottomed bottles, challadores, and some
tripod forms. The rim edges of some beakers are scalloped.
    Size: Varies according to form; storage jars are known to be up to
one meter in height.
    Identifying features: Tiwanaku finewares are typically polychrome
and often exhibit complex images of cats, llamas, or personages bearing
a staff in each outstretched arm. Beakers and plates often bear an
open-mouthed feline or llama adornment along the rim edge. Some
decorated jars (lebrillos) are short-bodied with disproportionately
large, outflaring rims.
    Styles: Tiwanaku I-V, Qalasasaya, Qeya, Yampara, Mollo, Omereque,
Uruquilla, Quillacasa, Yura, Tupuraya, Ciaco, Mojocoya, Lakatambo,
Colla, and Presto-Puno. Linked to the Wari style of Ayacucho, Peru, and
the earlier Chiripa style of Bolivia.
E. Aymara Kingdoms (A.D. 1200-1450)
    Decoration: Monochrome and polychrome painted vessels utilizing
red, grey, orange, white, black, and reddish-brown for intricate
geometric designs.
    Forms: Bowl, vase (lebrillo), pitcher, jar, figurine, cup, beaker
(kero), portrait vessel, plate, oil lamp (mechero), incense burner
(sahumerio), and challador.
    Size: Varies according to form.
    Identifying features: After the demise of the Tiwanaku empire,
local ceramic traditions re-emerged. Design elements such as color and
placement on the vessel are retained from Tiwanaku styles, but
religious personages and deities are replaced by abstract, geometric
designs.
    Styles: Mollo, Pacajes, Uruquilla, Yuna, Chaqui, Lupaqa, Karanga,
Charcas, Killaqa, Karanka, Kara Kara, Ciaco, Chuyes, Tomatas, Yampara,
and Mizque Regional. Also referred to as ``Decadent Tiwanaku.''
F. Inca (A.D. 1450-1533)
    Decoration: Monochrome and polychrome painted vessels utilizing
red, grey, orange, white, black, and reddish-brown for intricate
geometric designs arranged in bands.
    Forms: Cook pot, bowl, vase (lebrillo), pitcher, jar (aribalo),
figurine, cup, kero (beaker), portrait vessel, plate, oil lamp
(mechero), incense burner (sahumerio), funerary urn, bottle (angara),
challador, storage vessel.
    Size: Varies according to form; funerary urns and storage vessels
can average one meter in height.
    Identifying features: The most recognizable form of these ceramics
is the flat-based beaker or kero. These average about 10 cm. in height
and are painted with complex geometric and naturalistic designs in
polychrome colors, often adorned at or near the rim by a modeled puma,
llama, or jaguar head. Keros are often decorated in the style called
Tocapu, an Inca design consisting of horizontally and vertically
arranged squares with abstract and geometric motifs in each square.
    Styles: Inca, Yampara, Lakatambo, Colla, Yura, and Pacajes.
G. Tropical Lowland Cultures (1400 B.C.-A.D. 1533):
    Decoration: Often plain slipped in colors of red, tan, cream,
orange, black, and yellow with bands of geometric designs.
    Forms: Bowls, vases, pitchers, jars, funerary urn, plate, oil lamp,
and challador.
    Size: Varies according to form; some funerary urns are over one
meter in height.
    Identifying features: Soft pastes containing organic inclusions.

[[Page 63493]]

    Styles: Casarabe, Mamore, San Juan, Palmar, Vanegas, and Chane.
H. Ceramic Musical Instruments (Formative Cultures--Inca, including
Tropical Lowland Cultures)
    Decoration/Form: Ceramic musical instruments include whistles,
flutes, rattles, and panpipes. Often plain slipped in colors of red,
tan, cream, orange, black, and yellow or painted with intricate
polychrome designs.
    Size: Panpipes range between 20 cm. and 120 cm.; whistles and
rattles are typically hand size; flutes range from 20 cm. to 120 cm.
    Styles and distribution: Whistle/flute (ocarina or silbato); Rattle
(sonajera); Flute/panpipe (zampona). Distributed throughout all parts
of Bolivia.
II. Pre-Columbian Textiles
    Ceremonial, sumptuary, and funerary textiles representing the
following principal cultures:
A. Tiwanaku
    1. Shawl/mantle (awayo, ahuayo, lliclla, llacota): Square or
rectangular garment composed of two pieces of cloth sewn together.
Woven from cotton and/or camelid fibers and dyed with natural pigments
in red, blue, green, orange, yellow, tan, brown, black, purple, or a
combination of colors. Fabric designs include: (1) Stripes arranged
across the cloth in a vertical or horizontal pattern; (2) repetitive
arrangements of llamas or other animal motifs; (3) patterns created
from tie-dye, checkerboards, and repetitive squares or cloth patchwork.
Average size is one square meter.
    2. Tunic (unku, ccahua): Man's ceremonial vestment constructed from
one piece of cloth which is folded in half and sewn up the sides,
leaving openings for the arms at the top and an opening in the middle
for the head. Woven from cotton and/or camelid fibers, often in
tapestry weave, and dyed with natural pigments in red, blue, green,
orange, yellow, tan, brown, black, purple, or a combination of colors.
Designs are typically found in the hip, sleeve, and neck areas but
there are more elaborate examples where designs cover the entire
garment: (1) Stripes arranged across the cloth in a vertical or
horizontal pattern; (2) repetitive arrangements of llamas or other
animal motifs; (3) patterns created from tie-dye, checkerboards,
repetitive squares or cloth patchwork. Average size is 135 cm. x 92 cm.
    3. Belts and bag belts (chumpi, wak'a): Worn by both men and women,
woven from cotton or camelid fibers in a variety of widths, lengths,
and colors. Found in either a solid color or simple polychrome
geometricized design. Bag belts are long rectangular sashes comprised
of one piece of cloth folded length-wise that contain an opening in the
top and are secured to the waist by braided straps.
    4. Hat, headband: Includes polychrome caps, four-cornered hats with
tassels (gorro), headbands, and small cloths sometimes used as head-
coverings by women (icuna) which were either woven or knotted and dyed
with natural pigments in red, blue, green, orange, yellow, tan, brown,
black, purple, or a combination of colors. When present, designs are
geometric or depict highly stylized animals, such as llamas and other
camelids.
    5. Bag/pouch (ch'uspa, huallquepo): Carried by both men and women;
woven from cotton or camelid fibers in a variety of widths, lengths and
colors. Found in either a solid color or simple polychrome stripe
pattern arrangement with geometric motifs. These bags are usually
square (20 cm.) or rectangular with a woven carrying strap. They often
contain small pockets on the pouch exterior and are decorated with
tassels.
    6. Cloth: Square, rectangular, or fragmentary cloth woven from
cotton or camelid fibers, or constructed from soft tree bark or other
natural fiber, and dyed with natural pigments in red, blue, green,
orange, yellow, tan, brown, black, purple, or a combination of colors.
Some examples are striped in a vertical or horizontal pattern. Tapestry
wall-hangings often exhibit complex geometric or animal designs
arranged in repetitive patterns. Average size ranges between six square
centimeters and six square meters. Cloth may be fragmentary, folded
flat, or bundled (q'epi) for use in ritual ceremonies. Women's ritual
cloth, called icuna or tari, is also included in this category.
    7. Featherwork: Colorful, tropical feathers attached to leather,
cloth, wood, or other material, such as basketry, to create adornments
worn on the wrists, ankles, neck, waist, back, and head, including the
lips and ears. Most typically found are headdresses, which may consist
of small crowns (30 cm. average) or large, towering bonnets of feathers
(80 cm.). This category also includes feather-covered ritual belts and
textiles (35-70 cm.), fans (250 cm. long), staves or batons (145-250
cm.), basketry supports, and healer's amulets or photadi (80-250 cm.).
B. Aymara Kingdom
    1. Shawl/mantle (awayo, ahuayo, lliclla, llacota, iscayo): Square
or rectangular garment composed of two pieces of cloth sewn together.
Woven from cotton or camelid fibers and dyed with natural pigments in
red, blue, green, orange, yellow, tan, brown, black, purple, or a
combination of colors. Designs are typically stripes arranged across
the cloth in a vertical or horizontal pattern or along the margins of
the garment. Average size is one square meter.
    2. Tunic (unku, ccahua): Man's ceremonial vestment constructed from
one piece of cloth which is folded in half and sewn up the sides,
leaving openings for the arms at the top and an opening in the middle
for the head. Woven from cotton or camelid fibers and dyed with natural
pigments in red, blue, green, orange, yellow, tan, brown, black,
purple, or a combination of colors. Designs are typically found in the
hip, sleeve, and neck areas, but there are examples of more elaborate
designs which cover the entire garment; plain vertical stripe designs
across the garment are also known. Average size is 135 cm. x 92 cm.
    3. Dress (aksu/urku): Woman's ceremonial vestment woven from
camelid fiber constructed from one piece of cloth that is wrapped
around the body. These are dyed with natural pigments in red, blue,
green, orange, yellow, tan, brown, black, purple, or a combination of
colors. The vestments are plain or striped. Average length is 1.5
meters.
    4. Belts and bag belts (chumpi, wak'a): Worn by both men and women;
woven from cotton or camelid fibers in a variety of widths, lengths,
and colors. Found in either a solid color or simple polychrome
geometricized design. Bag belts are long rectangular sashes comprised
of one piece of cloth folded length-wise that contain an opening in the
top and are secured to the waist by braided straps.
    5. Hat (chucu) or headband: The Aymara chucu is a conical shaped
cap that is attached to the head with a headband. These were woven from
camelid fibers and dyed with natural pigments in red, blue, green,
orange, yellow, tan, brown, black, purple, or a combination of colors.
When present, designs are geometric or depict highly stylized animals,
such as llamas and other camelids.
    6. Bag/pouch (ch'uspa, huallquepo, istalla): Carried by both men
and women, woven from cotton or camelid fibers in a variety of widths,
lengths, and colors. Found in either a solid color or simple polychrome
stripe pattern arrangement with geometric motifs. These bags are
usually square (20 cm.) or rectangular with a woven carrying strap.
They often contain small pockets

[[Page 63494]]

on the pouch exterior and are decorated with tassels.
    7. Cloth: Square, rectangular, or fragmentary cloth woven from
cotton or camelid fibers, or constructed from soft tree bark or other
natural fiber, and dyed with natural pigments in red, blue, green,
orange, yellow, tan, brown, black, purple, or a combination of colors.
Some examples are striped in a vertical or horizontal pattern. Average
size ranges between six square centimeters and six square meters. Cloth
may be fragmentary, folded flat, or bundled (q'epi) for use in ritual
ceremonies. Woman's ritual cloth, called icuna or tari, is also
included in this category.
    8. Featherwork: Consists of colorful, tropical feathers attached to
leather, cloth, wood, or other material, such as basketry, to create
adornments worn on the wrists, ankles, neck, waist, back, and head,
including the lips and ears. Most typically found are head dresses,
which may consist of small crowns (30 cm. average) or large, towering
bonnets of feathers (80 cm.). This category also includes feather-
covered ritual belts and textiles (35-70 cm.), fans (250 cm. long),
staves or batons (145-250 cm.), basketry supports, and healer's amulets
or photadi (80-250 cm.).
C. Inca
    1. Shawl/mantle (awayo, ahuayo, lliclla, llacota, iscayo): Square
or rectangular garment composed of two pieces of cloth sewn together.
Woven from cotton or camelid fibers and dyed with natural pigments in
red, blue, green, orange, yellow, tan, brown, black, purple, or a
combination of colors. Designs are typically stripes arranged across
the cloth in a vertical or horizontal pattern or along the margins of
the garment. Average size is one square meter.
    2. Tunic (unku, ccahua): Man's ceremonial vestment constructed from
one piece of cloth which is folded in half and sewn up the sides,
leaving openings for the arms at the top and an opening in the middle
for the head. Woven from cotton and/or camelid fibers, often in
tapestry weave, and dyed with natural pigments in red, blue, green,
orange, yellow, tan, brown, black, purple, or a combination of colors.
Designs are typically found in the hip, sleeve, and neck areas, but
there are more elaborate examples where designs cover the entire
garment: (1) Stripes arranged across the cloth in a vertical or
horizontal pattern; (2) repetitive arrangements of llamas or other
animal motifs; (3) patterns created from tie-dye, checkerboards, and
repetitive squares or cloth patchwork. Tunics are often decorated in
the style called Tocapu, an Inca design consisting of horizontally and
vertically arranged squares with abstract and geometric motifs in each
square. Average size is 135 cm. x 92 cm.
    3. Dress (aksu/urku): Woman's ceremonial dress woven from camelid
fiber and constructed from a rectangular, two-piece cloth that is
wrapped around the body and tied at the waist. These are dyed with
natural pigments in red, blue, green, orange, yellow, tan, brown,
black, purple, or a combination of colors. The vestments are normally
plain or striped, but during the Inca Period, many were made from cumbi
(see Inca cloth) and decorated in striped patterns (usually horizontal)
of geometric motifs. Average length is 1.5 meters.
    4. Belts and bag belts (chumpi, wak'a): Worn by both men and women,
woven from cotton or camelid fibers in a variety of widths, lengths,
and colors. Found in either a solid color or simple polychrome
geometricized design. Bag belts are long rectangular sashes comprised
of one piece of cloth folded length-wise that contain an opening in the
top and are secured to the waist by braided straps.
    5. Hat (chuc, nanaca) or headband: The chucu is a conical shaped
cap that is attached to the head with a headband. These were woven from
camelid fibers and dyed with natural pigments in red, blue, green,
orange, yellow, tan, brown, black, purple, or a combination of colors.
When present, designs are geometric or depict highly stylized animals,
such as llamas and other camelids. Nanacas are head coverings worn by
women that range in size between 10 square cm. and one square meter.
    6. Bag/pouch (ch'uspa, huallquepo, istalla): Carried by both men
and women; woven from cotton or camelid fibers in a variety of widths,
lengths, and colors. Found in either a solid color or simple polychrome
stripe pattern arrangement with geometric motifs. These bags are
usually square (20 cm.) or rectangular with a woven carrying strap.
They often contain small pockets on the pouch exterior and are
decorated with tassels.
    7. Cloth and cumbi: Square, rectangular, or fragmentary cloth woven
from fine cotton and/or camelid fibers, or constructed from soft tree
bark or other natural fiber, and dyed with natural pigments in red,
blue, green, orange, yellow, tan, brown, black, purple, or a
combination of colors. Some examples are striped in a vertical or
horizontal pattern. Average size ranges between six square centimeters
and six square meters. Cloth may be fragmentary, folded flat, or
bundled (q'epi) for use in ritual ceremonies. Woman's ritual cloth,
called icuna, tari, or nanaca, is also included in this category.
Cumbi, or ``royal Inca cloth,'' refers to a finely woven, soft cloth
produced for Inca dignitaries and is analogous to gold in value. Often
baby alpaca wool was utilized.
    8. Knotted Strings or quipu (k'ipu, khipu): Quipus are knotted
string devices used to count and record. They were created from woven
cotton and/or camelid fiber twine. They appear as sets of knotted
strings in colors, such as tan, cream, brown, or coffee. Quipus range
in size from hand-size to 2.5 meters in length.
    9. Featherwork: Colorful, tropical feathers attached to leather,
cloth, wood, or other material to create adornments worn on the wrists,
ankles, neck, waist, back, and head, including the lips and ears. Most
typically found are headdresses, which may consist of small crowns (30
cm. average) or large, towering bonnets of feathers (80 cm.). This
category also includes feather-covered ritual belts and textiles (35-70
cm.), fans (250 cm. long), staves or batons (145-250 cm.), basketry
supports, and healer's amulets or photadi (80-250 cm.).
D. Tropical Lowland Cultures
    1. Cloth: Square, rectangular, or fragmentary cloth woven from
cotton, or constructed from soft tree bark or other natural fiber, and
dyed with natural pigments in red, blue, green, orange, yellow, tan,
brown, black, purple, or a combination of colors. Some examples are
striped in a vertical or horizontal pattern. Average size ranges
between six square centimeters and six square meters. Cloth may be
fragmentary, folded flat, or bundled (q'epi) for use in ritual
ceremonies.
    2. Featherwork: Colorful, tropical feathers attached to leather,
cloth, wood, or other material to create adornments worn on the wrists,
ankles, neck, waist, back, and head, including the lips and ears. Most
typically found are headdresses, which may consist of small, modest
crowns (30 cm. average) or large, towering bonnets of feathers (80
cm.). This category also includes feather-covered ritual belts and
textiles (35-70 cm.), fans (250 cm. long), staves or batons (145-250
cm.), and healer's amulets or photadi (80-250 cm.).
III. Pre-Columbian Metals
    Ceremonial, sumptuary, and funerary metal objects produced and used
by indigenous cultures from the Formative Period to A.D. 1533:
    A. Axe: Made of copper, bronze, or gold. Generally flat with
rounded head

[[Page 63495]]

and attached to a handle. Average size is 15 cm. long x 10 cm. wide.
Formative Cultures--Inca.
    B. Chisel: Made of copper, bronze, silver, gold, or tumbaga. Long
stem(50 cm.) terminates at short bulbous head (10 cm.). Formative
Cultures--Inca.
    C. Clamps/tweezers: Made of copper, bronze, silver, gold, or
tumbaga. Short stem (5 cm.) attaches to thin, flat heads, sometimes
decorated (10 cm.). Formative Cultures--Inca.
    D. Knife (tumi): Made of copper, bronze, silver, gold, or tumbaga.
Flat surface with trapezoidal or squared handle and ovaloid or half-
moon blade. Often incised, embossed, or applique decoration at base.
Average size is 50 cm. in height. Formative Cultures--Inca.
    E. Crown: Made of gold or silver. Generally flat metal with animal,
bird, or geometric designs. Average size is 14 cm. in diameter.
Formative Cultures--Inca.
    F. Diadem: Made of gold or silver. Generally flat with animal,
bird, or geometric designs. Average size is 35 cm. long  x  45 cm.
wide. Formative Cultures--Inca.
    G. Bracelet: Made of copper, bronze, silver, gold, or tumbaga.
Usually tubular form. Average size is 11 cm. in diameter. Formative
Cultures--Inca.
    H. Collar: Made of copper, bronze, silver, gold, or tumbaga.
Normally a thin (4 cm.) band without clasps. Sometimes contains beads,
disks, or pendants. Formative Cultures--Inca.
    I. Earring or ear plug: Made of copper, bronze, silver, gold, or
tumbaga. Generally discoid, ring shape, or pendant. Often inlaid with
semi-precious stones or shell. Average size is 4 cm. in diameter.
Tiwanaku--Inca.
    J. Necklace: Made of copper, silver, gold, or tumbaga. Normally a
thin(4 cm.) band without clasps. Sometimes contains beads, disks, or
pendants. Formative Cultures--Inca.
    K. Nose plug (nariguera): Made of copper, silver, gold, or tumbaga.
Either ring shaped (plain, thin band) or a circular band with applique.
Average size is 3 cm. in diameter. Formative Cultures--Inca.
    L. Belt: Made of copper, bronze, silver, gold, or tumbaga. Usually
consists of joined disks or chain links. Average size is one meter in
length. Formative Cultures--Inca.
    M. Figurine: Made of copper, bronze, silver, gold, or tumbaga.
Usually human or animal (camelid) shape. Often found in pairs. Range in
size from miniatures (2 cm. in height) to small statuettes (50 cm. in
height). Lauraques are small (3 cm. to 7 cm.) amulet-like figurines of
brass shaped like humans. Formative Cultures--Inca.
    N. Mask: Made of copper, bronze, silver, gold, or tumbaga. Usually
hammered, unadorned metal plaque that is sometimes inlaid with semi-
precious stone or shell. Motifs include felines and humans or
combinations of the two. Average size is 30 square cm.
    O. Pectoral: Made of copper, silver, gold, or tumbaga. Flat surface
with squared base and curved edge. Often decorated with fine incised
lines. Average size is 70 cm. in height. Formative Cultures--Inca.
    P. Sheet/plaque: Thin, hammered sheets of copper, silver, gold, or
tumbaga. Often incised or embossed. Size varies. Formative Cultures--
Inca.
    Q. Garment pin (tupu): Made of copper, bronze, silver, gold, or
tumbaga. A large pin with a long shaft (15 cm.) that usually terminates
with flat, discoid head (4 cm.) often embossed with design. Tiwanaku--
Inca.
IV. Pre-Columbian Stone
    Ceremonial, sumptuary, and funerary stone objects produced and used
by indigenous cultures from the Archaic period to A.D. 1533:
    A. Projectile point: Made of red, black, brown, or transparent
obsidian, chert, basalt, or other semi-precious stone. Leaf-shape, with
or without stem. Average size is 7 cm. long x 3 cm. wide. Formative
Cultures-Inca, including Tropical Lowland Cultures. Locally known as
Vizcachani style.
    B. Axe: Made of red, black, brown or transparent obsidian, chert,
basalt, or other semi-precious stone. Leaf-shape, or rectangular shaped
head, with or without notches where handle is attached. Average size is
12 cm. long x 6 cm. wide. Formative Cultures--Inca, including Tropical
Lowland Cultures.
    C. Sword: Made of red, black, brown or transparent obsidian, chert,
basalt, or other semi-precious stone. Oblong, leaf-shaped, with or
without notches where handle is attached. Formative Cultures--Inca,
including Tropical Lowland Cultures.
    D. Bead: Made of lapis lazuli, sodalite, obsidian, quartz,
malachite, green stone, or other semi-precious stone. Usually are
globular with fine aperture; pendants are also known. Average size is 1
cm., although much larger (4 cm.) and much smaller (2 mm.) sizes are
recognized. Formative Cultures--Inca.
    E. Lip plug: Made of lapis lazuli, sodalite, obsidian, quartz,
malachite, green stone, or other semi-precious stone. Normally of
discoidal shape. Average size is 2.5 cm. Formative Cultures--Inca,
including Tropical Lowland Cultures.
    F. Idol/conopa/figurine: Small human or animal shaped statuettes of
turquoise, alabaster, lapis lazuli, sodalite, obsidian, quartz,
malachite, green stone, or other semi-precious stone. Exterior is
finely polished. Often found in matching pairs. Animals are usually
camelids. Average size is 5 cm. in height. Formative Cultures--Inca,
including Tropical Lowland Cultures.
    G. Drinking vessel (kero): These are vase-shaped beakers, about 15
cm. in height, made from grey andesite or basalt. They often exhibit a
puma or jaguar face on the vessel exterior or other stylized geometric
design. Tiwanaku--Inca.
    H. Snuff tablet: These are shallow, rectangular trays approximately
20 cm. long x 5 cm. wide x 1 cm. in height. May be constructed of
andesite, basalt, alabaster, or other semi-precious stone, or of wood.
These small trays are often carved with intricate designs and inlaid
with semi-precious stone and/or shell. Formative Cultures--Inca,
including Tropical Lowland Cultures.
I. Sculpture
    1. Tenon head: Made of sandstone, basalt, granite, volcanic tuff,
or other stone. These are carved ashlar stone heads, normally in the
shapes of masked humans, jaguars, and pumas that either serve as
architectural wall embellishments at temples and religious shrines or
are portions of free-standing monoliths (see also stelae, monolith).
Small round heads average 50 square cm., while the heads of columnar
stelae average one square meter. Formative Cultures--Inca.
    2. Animal-shaped: Made of sandstone, basalt, granite, volcanic
tuff, or other stone. These are carved statues of the head and neck
portions of llamas and other animals. Because they are not supported by
a base or pedestal, they are unable to free-stand. Average size is 2
meters in height. Mostly Formative Cultures.
    3. Plaques (lapida): Made of sandstone, basalt, granite, limestone,
volcanic tuff, or other stone. These are rectangular ashlar slabs, 52
cm. long x 39 cm. wide x 3.5 cm. thick that are sculpted on both faces
with elaborate human, animal, and geometric designs. Mostly Wankarani,
Chiripa, and Formative Cultures.
    4. Stelae: Made of sandstone, granite, andesite, or other stone.
Includes free-standing columnar figures, inscribed columns, and door
jambs. These are typically engraved with masked figures and other
personages. Between one and three meters in height. Formative
Cultures--Inca.
    5. Monolith: Free-standing columnar sandstone, granite, andesite,
or other

[[Page 63496]]

stone. Between one and three meters in height. Formative Cultures--
Inca.
    J. Rock art: Made of sandstone, basalt, granite, limestone,
volcanic tuff or, other stone. These are portions of larger boulders or
cave faces that have been chiseled off. They contain simple images,
either painted, carved, or incised, of animals, humans, geometric, and
abstract designs. Sizes range between hand-size and several square
meters. Formative Cultures--Inca.
V. Pre-Columbian Shell Figurines
    Ceremonial, sumptuary, and funerary shell figurines produced and
used by indigenous cultures from the Formative period to A.D. 1533.
Small human or animal shaped statuettes of spondylus, mother-of-pearl,
and/or other shell. Exterior is finely polished. Often found in
matching pairs. Animals are usually camelids. Average size is 5 cm. in
height. Formative Cultures--Inca, including Tropical Lowland Cultures.
VI. Pre-Columbian Mummified Human Remains
    Whole or partial mummified human remains, including modified
skulls. May be wrapped in textiles. Individual limbs often contain
bracelets and other precious metal and shell objects.
VII. Pre-Columbian Bone Objects
    Ceremonial, sumptuary, and funerary bone objects produced and used
by indigenous cultures from the Formative period to A.D. 1533:
    A. Punch: Spike-like implement approximately 14 cm. long and 1 cm.
wide that tapers to a pointed, sharp head. Formative Cultures--Inca,
including Tropical Lowland Cultures.
    B. Needle: Vary in size from 5 cm. to 15 cm. in length. Formative
Cultures--Inca, including Tropical Lowland Cultures.
    C. Hook: Semicircular implement of polished bone that often
contains barb. Approximately 2 cm. in height. Formative Cultures--Inca,
including Tropical Lowland Cultures.
    D. Figurine: Usually human or animal (camelid) shape. Often found
in matching pairs. Range in size from miniatures (2 cm. in height) to
small statuettes (50 cm. in height). Formative Cultures--Inca.
    E. Spindle: Long, spine-like object used in weaving to wind thread
in conjunction with a spindle whorl. Appear as elongated needles with
dull edges. Average size is 17 cm. long x 5 mm. wide. Formative
Cultures--Inca.
    F. Spindle whorl: Small globular, bead-shaped, or flat circular
object that adds weight and balance to spindles used to wind thread.
The whorl attaches to the spindle via an aperture in the whorl. Often
engraved on the exterior with intricate designs. Bead size averages 2
square centimeters. Flat disks range from 3 cm. to 7 cm. in diameter.
Formative Cultures--Inca.
    G. Snuff tablet: These are shallow, rectangular trays approximately
20 cm. long x 5 cm. wide x 1 cm. in height. May be constructed of bone,
stone, or wood. These small trays are often carved with intricate
designs and inlaid with semi-precious stone and/or shell. Formative
Cultures--Inca, including Tropical Lowland Cultures.
    H. Inhaler tube: Small bones that have been hollowed, polished, and
decorated on the exterior with engraved and polychrome painted designs.
Average size is 8 cm. long x 3 cm. in diameter. Formative Cultures--
Inca, including Tropical Lowland Cultures.
    I. Amulet/talisman (tembeta): Can consist of a single bone engraved
on the exterior with a design or a bead, amulet, or charm made from
bone that has been polished, carved, and/or painted. Size ranges from 2
cm. to 40 cm. Formative Cultures--Inca, including Tropical Lowland
Cultures.
    J. Lip plug: Either ring shaped (plain, thin band) or disk shaped.
Average size is 3 cm. in diameter. Formative Cultures--Inca, including
Tropical Lowland Cultures.
    K. Flute or panpipe (zampona): Panpipes range between 20 cm. and
120 cm.; flutes range from 20 cm. to 120 cm. Formative Cultures--Inca,
including Tropical Lowland Cultures.
VIII. Pre-Columbian Wood Objects
    Ceremonial, sumptuary, and funerary wood objects produced and used
by indigenous cultures from the Formative period to A.D. 1533:
    A. Drinking vessel (kero): These are vase-shaped beakers, about 15
cm. in height. A puma or jaguar face is often modeled onto the vessel
exterior and/or the wood is carved or engraved with a stylized
geometric design. Tiwanaku--Inca.
    B. Snuff tablet: Shallow, rectangular trays approximately 20 cm.
long x 5 cm. wide x 1 cm. in height. May be constructed of wood, bone,
or stone. These small trays are often carved with intricate designs and
inlaid with semi-precious stone and/or shell. Formative Cultures--Inca,
including Tropical Lowland Cultures.
    C. Bowl or challador: Compartmented bowl carved from a single slab
of wood, with or without handles. Carved or engraved decoration on the
surface exterior. Size ranges from 9 cm. to 17 cm. in height.
    D. Arrow shaft: Created from a solid piece of wood. Often tipped
with gold spear. Size varies from 30 cm. to 3 meters long.
    E. Necklace: A thin strip (4 cm.) without clasps. Sometimes contain
beads, disks, seeds, or pendants. Formative Cultures--Inca.
    F. Mask: These are created from a single slab of wood. Often carved
in the shape of feline or human face, with slits for the eyes and
mouth. Average size is 30 square cm. and 3 cm. thick. Formative
Cultures--Inca, including Tropical Lowland Cultures.
    G. Digging stick: These implements most often take the form of a
central staff (one meter in height) to which an appendage is added. The
central staff is often carved. The appendage may be secured to the
staff with bands of precious metals such as gold. Inca Culture.
    H. Spindle whorl: Small globular, bead-shaped, or flat circular
object that adds weight and balance to spindles used to wind thread.
The whorl attaches to the spindle via an aperture in the whorl. Often
engraved on the exterior with intricate designs. Bead size averages 2
square centimeters. Flat disks range from 3 cm. to 7 cm. in diameter.
Formative Cultures--Inca.
IX. Pre-Columbian Basketry
    Ceremonial, sumptuary, and funerary basketry produced and used by
indigenous cultures from the Formative Period to A.D. 1533:
    A. Basket: Round, square, or rectangular containers with or without
handles. May be constructed of reeds, vines, grasses, or other vegetal
fibers. Sometimes construction is combined with cloth, animal skin, or
wood. Size varies from 4 cm. to 1 meter in height. Formative Cultures--
Inca, including Tropical Lowland Cultures.
    B. Casket: Square or rectangular containers with lids and handles.
May be constructed of reeds, vines, grasses, or other vegetal fibers.
Sometimes construction is combined with cloth, animal skin, or wood.
Size varies from 50 cm. to 1 meter in height. Formative Cultures--Inca,
including Tropical Lowland Cultures.
    C. Headdress: These are supports for featherwork worn on the head.
Can be up to 60 cm. in length/height. Formative Cultures--Inca,
including Tropical Lowland Cultures.

Ethnological Materials

    Ethnological materials date from A.D. 1533 to 1900. Two broad
categories are encompassed in the sections below. Sections I to VI
describe artifacts that reflect Pre-Columbian traditions and are

[[Page 63497]]

considered religious in nature or are critically linked to indigenous
identity and ancestral use and/or manufacture. Section VII encompasses
artifacts produced for use in Catholic religious observance. Some of
these items may occur in archaeological contexts.
I. Colonial and Republican Masks (A.D. 1533-1900)
    These masks are constructed of wood, leather or skins, silver, tin,
cloth, glass beads, oil painted plaster, fur, feathers, or some
combination of these materials, with the intent of exaggerating the
facial features, particularly the eyes and mouth, of the personage or
animal in the dance. Common themes include the devil with horns, old
men (Awki), African faces (Moreno), blonde haired/blue eyed men with
bullet holes in their foreheads (Chunchus), angels, heroines (China
Supay), and animals. Size varies according to the mask. Some are as
small as 40 cm. or as large as 170 cm.
    All masks produced until 1900 that are associated with the
Christian or indigenous dance rituals of the Colonial and Republican
Periods are included. These include but are not limited to masks of the
following dances: Dance of La Diablada; Dance of La Morenada; Dance of
Kullawada; Dance of La Llamerada; Dance of the Chunchus; Chutas Dance;
Kusillos Dance; Chiriguano Dance; Dance of the Inca; Dance of the
Chunchos; Dance of the Achus; Dance of St. Ignatius of Moxos; Dance of
the Little Angels; Moors and Christians Dance; Dance of the Sun and the
Moon; Dance of the Little Bull; Dance of the Jucumari; Chiriguano
Ritual; Dance of the Auqui Auqui; Dancer Ritual; Dance of the Misti'l
Siku; Dance of the Little Bull; Dance of the Tundiquis; Dance of the
Paqochis.
II. Colonial and Republican Wood Objects (A.D. 1533-1900)
    Objects in wood that relate to indigenous ceremonial activities.
These include:
    A. Drinking vessels (kero, keru, q'ero): These are vase-shaped
beakers, about 15 cm. in height. During the Colonial Period, these
wooden cups were polychrome painted with elaborate scenes and designs.
    B. Scepter (Baston de mando): Wooden staff made of palm wood and
encased in silver with semi-precious stones. Size varies from 45-120
cm.
    C. Ceremonial vessels (challador cups/vases): The interiors of
these vessels are segmented into compartments. Size ranges between 10-
35 cm.
    D. Bow: Constructed with wood, feathers, and other animal and
vegetal fibers. Used for ritual purposes by the Araona Culture of the
Tropical Lowlands. Size ranges from 120 cm. to 210 cm.
    E. Tobacco pipe: Straight tubular shape, without a bowl, used by
Tropical Lowland Cultures in religious ceremonies. Often, an X is
painted as a clan symbol on one end of the tube. Size ranges from 10
cm. to 15 cm.
III. Colonial and Republican Musical Instruments (A.D. 1533-1900)
    Musical instruments created for and used in indigenous ceremonies.
These include:
    A. Charango: Stringed instrument, similar to a mandolin or ukelele,
manufactured of wood. The bowl of the instrument is sometimes decorated
with animal pelts. About 50 cm. in length.
    B. Drum (Sancuti bombo, Wankara bombo, muyu muyu, q'aras): Vary in
size and shape. Generally the box is cylindrical and made of wood or
tree bark with skins stretched over the frame to form the heads. Size
ranges from 30 cm. to 60 cm.
C. Flutes
    1. Flute (rollano, chaxes, lawatos): Made of hollowed wood with
leather strips. These flutes are characterized by six holes. Size
ranges from 40 cm. to 100 cm.
    2. Flute (chutu pinquillo): Made of uncut flamingo bone with six
holes. Size ranges from 25 cm. to 35 cm.
    3. Flute (pifano): Made of bato bone. Size varies.
    4. Flute (jantarco, sicus): Made of wood with flower designs
engraved on the surface. Diamond shaped in cross-section. Size varies
from 10 cm. to 35 cm.
    D. Harp: Stringed instrument made of wood and animal skin. It
contains 30 strings. Size ranges from 80 cm. to 150 cm.
    E. Mandolin: Constructed of wood and often inlaid with shell. Size
varies.
    F. Whistle (ocarina, willusco): Small, hand-held whistle made of
wood, 7 cm. Willusco is small, disk shaped whistle with design engraved
on surface, 3 cm. to 7 cm.
    G. Panpipe (bajon): Made of leaves formed into tubes, attached to
each other with cotton thread. Characterized by 10 tubes. Size ranges
from 120 cm. to 180 cm.
    H. Violin (tacuara): Made of wood. Size ranges from 40 cm. to 50
cm.
IV. Colonial and Republican Textiles (A.D. 1533-1900)
    Textiles woven by indigenous peoples for ceremonial or ritual use:
A. Indigenous Highland Traditions:
    1. Poncho (balandran, ponchito, choni, khawa, challapata): Square
or rectangular overgarment worn by men usually consisting of two pieces
of hand-woven cloth sewn together, with a slit in the center for the
head. May be dyed with natural or synthetic dyes in all colors. Plain
or striped. Often woven from alpaca or other camelid fibers. Some with
tassels. Average size is 80 cm.  x  100 cm.
    2. Dress (almilla/urku/aksu): The almilla is the dress adopted by
indigenous women in the sixteenth century tailored from hand-woven wool
cloth (bayeta). It consists of a gathered skirt attached to a fitted
bodice. The urku is a pleated or gathered skirt characterized by a bold
stripe pattern arranged horizontally. The aksu is a women's ceremonial
dress woven from camelid fiber and constructed from a rectangular, two-
piece cloth that is wrapped around the body and tied at the waist. May
be dyed with natural or synthetic dyes in all colors. Average size is
one square meter.
    3. Mantle/shawl (axsu, tsoc urjcu, tscoc irs, medio axsu, llacota,
isallo, awayo, llixlla, iscayo, phullu, talo unkhuna, nanaqa): Square
or rectangular garment composed of two pieces of cloth sewn together.
May be dyed with natural or synthetic dyes in all colors. Plain or
striped. Often woven from alpaca or other camelid fibers. Designs are
typically stripes arranged across the cloth in a vertical or horizontal
pattern or confined to the margins of one side of the garment. Average
size is one square meter.
    4. Tunic (unku, ira, ccahua): Man's ceremonial vestment constructed
from one piece of cloth which is folded in half and sewn up the sides,
leaving openings for the arms at the top and an opening in the middle
for the head. Designs are typically found in the hip, sleeve, and neck
areas, but there are more elaborate examples where stripes cover the
entire garment, some with silver thread. May be dyed with natural or
synthetic dyes in all colors. Usually made from camelid wool,
especially alpaca. Average size is 135 cm.  x  92 cm.
    5. Bag (chuspa, alforja, kapachos, huayacas): Carried by both men
and women; woven from cotton or camelid fibers in a variety of widths,
lengths, and colors. Found in either a solid color or simple polychrome
stripe pattern arrangement with geometric motifs. These bags are
usually square (20 cm.) or rectangular with a woven carrying strap.
They often contain small pockets on the pouch exterior and are
decorated with tassels.

[[Page 63498]]

    6. Belt (w'aka, tsayi, chumpi, wincha, t'isnu): Worn by both men
and women; woven from cotton or camelid fibers in a variety of widths,
lengths, and colors. Found in either a solid color or simple polychrome
geometric design.
    7. Scarf/muffler: Worn by both men and women; woven from camelid
fibers or sheep's wool with natural dyes in a variety of widths,
lengths, and colors. Consists of one rectangular piece. Approximately
50 cm. in length.
    8. Hat: Caps (10 square cm.) worn by men and nanacas worn by women
that range in size between 10 square cm. and one square meter. Both are
woven from camelid fibers and silk, and dyed with natural pigments in
red, blue, green, orange, yellow, tan, brown, black, purple, or a
combination of colors. When present, designs are geometric or depict
highly stylized animals such as llama and other camelids.
    9. Sling (wichi wichis, qorawas): Rectangular band of cloth (25 cm.
 x  10 cm.); long ends taper to a loop where ropes are attached to
either side.
    10. Cloth: Square, rectangular, or fragmentary cloth woven from
fine camelid fibers, silk, and/or silver and gold threads, or
constructed from soft tree bark or other natural fiber, and dyed with
natural pigments in red, blue, green, orange, yellow, tan, brown,
black, purple, or combination of colors. Some examples are striped in a
vertical or horizontal pattern. Average size ranges between six square
centimeters and six square meters. Cloth may be fragmentary, folded
flat, or bundled (q'epi) for use in ritual ceremonies. Woman's ritual
cloth, called icuna, tari, or nanaca, is also included in this
category.
B. Indigenous Lowland Traditions (A.D. 1533-1900):
    1. Long shirt (camijeta/ tipois): Tunic-like vestment made of
cotton or vegetal material such as bark. Tassels often attached to
lower edge. Size is 133 cm. long x 71 cm. wide.
    2. Woman's Two Piece Vestment (tsotomo and noca): Long, straight
skirt (noca) and separate bodice (tsotomo) made of cotton or vegetal
material such as bark. Noca size is 50 cm. long  x  40 cm. wide;
Tsotomo size is 11.5 cm. deep x 35 cm. long.
    3. Cloth: Square, rectangular, or fragmentary cloth woven from
cotton, or constructed from soft tree bark or other natural fiber, and
dyed with natural pigments in red, blue, green, orange, yellow, tan,
brown, black, purple, or combination of colors. Some examples are
striped in a vertical or horizontal pattern. Average size ranges
between six square centimeters and six square meters. Cloth may be
fragmentary, folded flat, or bundled (q'epi) for use in ritual
ceremonies.
V. Colonial and Republican Featherwork (A.D. 1533-1900)
    Featherwork produced for ceremonial use consists of colorful,
tropical feathers attached to leather, cloth, wood, or other material,
such as basketry, to create adornments worn on the wrists, ankles,
neck, waist, back, and head, including the lips and ears. Most
typically found are headdresses, which may consist of small, modest
crowns (30 cm. average) or large, towering bonnets of Suri feathers (80
cm.). This category also includes feather-covered ritual belts and
textiles (35-70 cm.), fans (250 cm. long), staves or batons (145-250
cm.), basketry supports, and healer's amulets or photadi (80-250 cm.).
VI. Colonial and Republican Ceramics (A.D. 1533-1900)
    A. Ceremonial drinking vessels (recipiente, andavete, trampavaso):
Containers and serving vessels used in the ceremonial context of chicha
drinking. In post-Columbian times, these are hard ceramics with glassy
surfaces resulting from the application of a mineral glaze. May be
brown, green, blue, red, or any combination of colors. Vary in size and
shape from handled jars, pitchers, cups, and vases, to animal-shapes
(bull, tiger, llama, hoof).
    B. Ritual smoking pipes: Tubular shape without tobacco bowl. The
average size is from 10 cm. to 15 cm.
VII. Colonial and Republican Religious Art (A.D. 1533-1900)
    A. Statues: Made of wood, maguey, gesso, silver, gold, bronze,
alabaster, or other stone and often decorated with gilt paint. Typical
statuary for this period includes depictions of patron saints (santos/
santas), angels, Christ, the Virgin Mary, the apostles, and the Holy
Family. Gold and silver crowns and other adornments in precious metals
and precious stone are often found on these statues. Some are dressed
with brocade and tapestry cloth made from gold and silver threads. Some
are holding objects such as swords. Size varies from 30 cm. to two
meters.
    B. Crucifixes: Made of wood, maguey, alabaster, silver, gold,
bronze, brass. Size varies from 5 cm. to 200 cm.
    C. Oil paintings: Include depictions of patron saints (santos/
santas), angels, Christ, the Virgin Mary, the apostles, and the Holy
Family on wood, metal, canvas (lienzo), and other cloth. With or
without frame. The archangel is a central theme. Oil painting is found
on objects as small as reliquaries (3 cm.), mid-sized canvas (one
square meter), or wall-sized renditions.
    D. Reliquaries: Include painted and engraved depictions of patron
saints (santos/santas), angels, Christ, the Virgin Mary, the apostles,
and the Holy Family primarily on wood, ceramic, and metal such as
silver. Bolivian reliquaries are essentially small lockets and do not
always contain relics. Size ranges from 3 cm. to 25 cm.
    E. Trunks/coffers (petaca): Made of leather and gilded wood or of
silver. These small boxes (30 cm. length) or large trunks (1.5 meters
in length) held altar objects, such as chalices and holy oil, during
transport.
    F. Retablo: Made of wood and precious metals such as gold or
silver. These are altars or architectural wall facades behind existing
altars that contain niches and a tabernacle. Often disassembled in
pieces. May be as large as 20 meters high x 7 meters wide; portions
vary--a niche may be one square meter. Small, self-contained units that
appear as boxes with hinged doors are as small as 40 cm. in height.
Miniatures average 5 cm. in height.
    G. Altar pieces: Altars and their components (for example, frontal,
grates, sacristy) made of gilded wood, gold, or silver. Often decorated
in repousse. Average size is 1.6 meters x 1.2 meters.
    H. Altar objects: These include chalices, monstrances/ostensoria,
cruets, candelabras, lecterns, incense burners, hand bells typically
made of gold and silver and decorated with precious stones, shell such
as pearl, or other adornments. Size varies according to object. This
category also includes ceramic, metal, and wooden challadores and
ceremonial drinking cups.
    I. Church furniture: Made of wood, silver gold, stone, brass, or
bronze. Includes carved picture frames, confessionals, pulpits,
pedestals, litters, choir stalls, chancels, banisters, lectern, saint's
flags, and church bells and chimes. Size varies according to object.
    J. Crowns and radiations: Made of silver and gold, these objects
are found alone or in conjunction with religious statuary depicting the
Virgin and Jesus. Size varies from 10 cm. to 30 cm.
    K. Garment pin (tupu/prendedor): Made of copper, bronze, brass,
silver, gold, or tumbaga. A large pin with a long shaft (15 cm.) that
usually terminates with flat, discoid head (4 cm.), often embossed with
design. Some heads are inlaid with semi-precious stone.
    L. Liturgical vestments: Garments worn by the priest and/or other
religious dignitaries made of fine cotton, silk, and gold and silver
thread. This category

[[Page 63499]]

includes the chasuble, dalmatic, alb, stole, girdle, maniple, rochet,
musette, mitre, and bonnet. Size varies according to garment.

Inapplicability of Notice and Delayed Effective Date

    Because the amendments to the Customs Regulations contained in this
document merely remove reference to expired import restrictions and
impose import restrictions on the above-listed cultural property of
Bolivia in response to a bilateral agreement entered into in
furtherance of a foreign affairs function of the United States,
pursuant to the Administrative Procedure Act (5 U.S.C. 553(a)(1)), no
notice of proposed rulemaking or public procedure is necessary and a
delayed effective date is not required.

Regulatory Flexibility Act

    Because no notice of proposed rulemaking is required, the
provisions of the Regulatory Flexibility Act (5 U.S.C. 601 et seq.) do
not apply. Accordingly, this final rule is not subject to the
regulatory analysis or other requirements of 5 U.S.C. 603 and 604.

Executive Order 12866

    This amendment does not meet the criteria of a ``significant
regulatory action'' as described in E.O. 12866.

Drafting Information

    The principal author of this document was Bill Conrad, Regulations
Branch, Office of Regulations and Rulings, U.S. Customs Service.
However, personnel from other offices participated in its development.

List of Subjects in 19 CFR Part 12

    Customs duties and inspections, Imports, Cultural property.

Amendment to the Regulations

    Accordingly, Part 12 of the Customs Regulations (19 CFR Part 12) is
amended as set forth below:

PART 12--[AMENDED]

    1. The general authority and specific authority citations for Part
12, in part, continue to read as follows:

    Authority: 5 U.S.C. 301, 19 U.S.C. 66, 1202 (General Note 22,
Harmonized Tariff Schedule of the United States (HTSUS)), 1624;
* * * * *
    Sections 12.104 through 12.104i also issued under 19 U.S.C. 2612;
* * * * *

    2. In Sec. 12.104g, paragraph (a), the list of agreements imposing
import restrictions on described articles of cultural property of State
Parties, is amended by adding Bolivia in appropriate alphabetical
order, as follows, and paragraph (b), the list of emergency actions
imposing import restrictions, is amended by removing the entry for
``Bolivia'':

Sec. 12.104g  Specific items or categories designated by agreements or
emergency actions.

    (2) * * *

------------------------------------------------------------------------
           State party             Cultural property        T.D. No.
------------------------------------------------------------------------
Bolivia.........................  Archaeological and   T.D. 01-86
                                   Ethnological
                                   Material from
                                   Bolivia.

*                  *                  *                  *
                  *                  *                  *
------------------------------------------------------------------------

* * * * *

    Dated: December 4, 2001.
Robert C. Bonner,
Commissioner of Customs.
Timothy E. Skud,
Acting Deputy Assistant Secretary of the Treasury.
[FR Doc. 01-30417 Filed 12-5-01; 10:36 am]
BILLING CODE 4820-02-P