62696 Federal Register / Vol. 88, No. 176 / Wednesday, September 13, 2023 / Rules and Regulations 

§ 201.28 [Amended] 

■ 4. In § 201.28: 

■ a. In the section heading, remove the 

text ‘‘Regional Supervisors’’ and add in 

their place the text ‘‘Regional 

Directors’’; and 

■ b. In the introductory paragraph, 

remove in both instances the text 

‘‘Regional Supervisor’’ and add in their 

places the text ‘‘Regional Director’’. 

§ 201.42 [Amended] 

■ 5. In § 201.42 (g), remove the word 

‘‘party’’ and add in its place the word 

‘‘part’’. 

§ 201.72 [Amended] 

■ 6. In § 201.72(b), remove the term 

‘‘P&SP’’ and add in its place the term 

‘‘PSD’’. 

§ 201.73–1 [Amended] 

■ 7. In § 201.73–1 introductory 

paragraph: 

■ a. Remove the text ‘‘P&SA Form 215’’ 

and add in its place the text ‘‘Form PSD 

4000’’; and 

■ b. Remove in both instances the text 

‘‘Packers and Stockyards Programs’’ and 

add in their places the text ‘‘Packers and 

Stockyards Division’’. 

§ 201.108–1 [Amended] 

■ 8. In § 201.108–1 introductory 

paragraph, remove in both instances the 

text ‘‘Grain Inspection, Packers and 

Stockyards Administration’’ and add in 

their places the text ‘‘Agricultural 

Marketing Service’’. 

PART 202—RULES OF PRACTICE 

GOVERNING PROCEEDINGS UNDER 

THE PACKERS AND STOCKYARDS 

ACT 

■ 9. The authority citation for part 202 

continues to read as follows: 

Authority: 7 U.S.C. 228(a); 7 CFR 2.22 and 

2.81. 

§ 202.2 [Amended] 

■ 10. In § 202.2(b), remove the text 

‘‘Grain Inspection,’’. 

PART 206—SWINE CONTRACT 

LIBRARY 

■ 11. The authority citation for part 206 

continues to read as follows: 

Authority: 7 U.S.C. 198–198b; 7 U.S.C. 

222. 

§ 206.2 [Amended] 

■ 12. In § 206.2(e), remove the text 

‘‘Form P&SP 342’’ and add in its place 

the text ‘‘Form PSD 342’’. 

§ 206.3 [Amended] 

■ 13. In § 206.3(c), remove the text 

‘‘Form P&SP 341’’ and add in its place 

the text ‘‘Form PSD 341’’. 

Erin Morris, 

Associate Administrator, Agricultural 

Marketing Service. 

[FR Doc. 2023–18350 Filed 9–12–23; 8:45 am] 

BILLING CODE 3410–02–P 

DEPARTMENT OF HOMELAND 

SECURITY 

U.S. Customs and Border Protection 

DEPARTMENT OF THE TREASURY 

19 CFR Part 12 

[CBP Dec. 23–10] 

RIN 1515–AE80 

Import Restrictions on Ethnological 

Material of Peru 

AGENCY: U.S. Customs and Border 

Protection, Department of Homeland 

Security; Department of the Treasury. 

ACTION: Final rule. 

SUMMARY: This document amends the 

U.S. Customs and Border Protection 

(CBP) regulations to reflect the addition 

of several categories of ethnological 

material of Peru to the existing import 

restrictions and to clarify descriptions of 

certain categories of archaeological and 

ethnological material of Peru. The 

United States has entered into an 

agreement with Peru that supersedes the 

prior agreement and amends the import 

restrictions that became effective on 

June 9, 2022. The restrictions, originally 

imposed by Treasury Decision 97–50, 

and recently extended by CBP Decision 

22–11 for an additional five-year period, 

will continue with the addition of these 

categories of ethnological material 

through June 9, 2027, and the CBP 

regulations are being amended to reflect 

these additions. The Designated List of 

archaeological and ethnological material 

of Peru to which the restrictions apply 

is reproduced below. 

DATES: Effective September 13, 2023. 

FOR FURTHER INFORMATION CONTACT: For 

legal aspects, W. Richmond Beevers, 

Chief, Cargo Security, Carriers and 

Restricted Merchandise Branch, 

Regulations and Rulings, Office of 

Trade, (202) 325–0084, ototrrculturalproperty@cbp.dhs.gov. For 

operational aspects, Julie L. Stoeber, 

Chief, 1USG Branch, Trade Policy and 

Programs, Office of Trade, (202) 945– 

7064, 1USGBranch@cbp.dhs.gov. 

SUPPLEMENTARY INFORMATION: 

Background 

The Convention on Cultural Property 

Implementation Act (Pub. L. 97–446, 19 

U.S.C. 2601 et seq.) (CPIA), which 

implements 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 (823 

U.N.T.S. 231 (1972)) (Convention), 

allows for the conclusion of an 

agreement between the United States 

and another party to the Convention to 

impose import restrictions on eligible 

archaeological and ethnological 

materials. Under the CPIA and the 

applicable U.S. Customs and Border 

Protection (CBP) regulations, found in 

§ 12.104 of title 19 of the Code of 

Federal Regulations (19 CFR 12.104), 

the restrictions are effective for no more 

than five years beginning on the date on 

which an agreement enters into force 

with respect to the United States (19 

U.S.C. 2602(b)). This period may be 

extended for additional periods, each 

extension not to exceed five years, if it 

is determined that the factors justifying 

the initial agreement still pertain and no 

cause for suspension of the agreement 

exists (19 U.S.C. 2602(e); 19 CFR 

12.104g(a)). 

In certain limited circumstances, the 

CPIA authorizes the imposition of 

restrictions on an emergency basis (19 

U.S.C. 2603). The emergency 

restrictions are effective for no more 

than five years from the date of the State 

Party’s request and may be extended for 

three years where it is determined that 

the emergency condition continues to 

apply with respect to the covered 

material (19 U.S.C. 2603(c)(3)). These 

restrictions may also be continued 

pursuant to an agreement concluded 

within the meaning of the CPIA (19 

U.S.C. 2603(c)(4)). Additionally, after 

any agreement enters into force either 

through an agreement or emergency 

action, CBP will by regulation 

promulgate (and when appropriate 

revise) a list of the archaeological or 

ethnological material of the State Party 

covered by the agreement or by such 

emergency action (19 U.S.C. 2604). 

On May 7, 1990, the former United 

States Customs Service published 

Treasury Decision (T.D.) 90–37 

amending 19 CFR 12.104g(b) to reflect 

the imposition of emergency restrictions 

on the importation of archaeological 

materials from the Sipa ́n Archaeological 

Regions, forming part of the remains of 

the Moche culture. Subsequently, on 

June 27, 1994, the former United States 

Customs Service published T.D. 94–54, 

amending 19 CFR 12.104g(b) to reflect 


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the extension of these emergency import 

restrictions for an additional three-year 

period. 

On June 9, 1997, the United States 

entered into the ‘‘Memorandum of 

Understanding Between the 

Government of the United States of 

America and the Government of the 

Republic of Peru Concerning the 

Imposition of Import Restrictions on 

Archaeological Material from the PreHispanic Cultures and Certain 

Ethnological Material from the Colonial 

Period of Peru’’ (1997 MOU). The 1997 

MOU provided for import restrictions 

on certain categories of archaeological 

and ethnological material and also 

continued to include archaeological 

material then subject to the emergency 

restrictions. 

On June 11, 1997, the former United 

States Customs Service published T.D. 

97–50 in the Federal Register (62 FR 

31713), which amended 19 CFR 

12.104g(a) to reflect the imposition of 

these restrictions and included a list 

designating the types of archaeological 

and ethnological materials covered by 

the restrictions. Consistent with the 

requirements of 19 U.S.C. 2602(b) and 

19 CFR 12.104g, these restrictions were 

effective for a period of five years. 

The import restrictions were 

subsequently extended five times, and 

the designated list amended twice, in 

accordance with 19 U.S.C. 2602(e) and 

19 CFR 12.104g(a). On June 6, 2002, the 

former United States Customs Service 

published T.D. 02–30 in the Federal 

Register (67 FR 38877), which amended 

19 CFR 12.104g(a) to reflect the 

extension of these import restrictions for 

an additional period of five years. On 

June 6, 2007, CBP published CBP 

Decision (CBP Dec.) 07–27 in the 

Federal Register (72 FR 31176), which 

amended 19 CFR 12.104g(a) to reflect 

the extension of these import 

restrictions for an additional period of 

five years. On June 7, 2012, CBP 

published CBP Dec. 12–11 in the 

Federal Register (77 FR 33624), which 

amended 19 CFR 12.104g(a) to reflect 

the extension of these import 

restrictions for an additional period of 

five years. On June 7, 2017, CBP 

published CBP Dec. 17–03 in the 

Federal Register (82 FR 26340), which 

amended 19 CFR 12.104g(a) to reflect 

the extension of these import 

restrictions for an additional period of 

five years and to revise the designated 

list to reflect the addition of Colonial 

period documents and manuscripts to 

the list of ethnological material. 

On September 13, 2021, the United 

States Department of State proposed in 

the Federal Register (86 FR 50931), to 

extend the 1997 MOU. On March 15, 

2022, after consultation with and 

recommendation by the Cultural 

Property Advisory Committee, the 

Acting Assistant Secretary for 

Educational and Cultural Affairs, United 

States Department of State, made the 

determinations necessary to extend and 

amend the 1997 MOU. The extension 

and amendment of the MOU was 

implemented in two stages. First, the 

1997 MOU was extended for an 

additional five years via an exchange of 

diplomatic notes, with effect from June 

9, 2022. On June 9, 2022, CBP published 

CBP Dec. 22–11 in the Federal Register 

(87 FR 34775), which amended 19 CFR 

12.104g(a) to reflect the extension of 

these import restrictions for an 

additional period of five years. 

Second, on September 30, 2022, the 

Governments of the United States and 

Peru signed an agreement to include 

additional categories of ethnographic 

materials, titled ‘‘Agreement Between 

the Government of The United States of 

America and the Government of The 

Republic of Peru Concerning the 

Imposition of Import Restrictions on 

Categories of Archaeological and 

Ethnological Material of Peru’’ (2022 

Agreement). The 2022 Agreement 

supersedes the 1997 MOU. Following an 

exchange of diplomatic notes, the 2022 

Agreement entered into force on April 

27, 2023. Pursuant to the 2022 

Agreement, the existing import 

restrictions on archaeological and 

ethnological materials remain in effect 

through June 9, 2027, and the 

importation of additional categories of 

ethnological material is restricted 

through June 9, 2027. 

Accordingly, CBP is amending 19 CFR 

12.104g(a) to reflect the amendment of 

the Designated List of cultural property, 

described in CBP Dec. 17–03, with the 

addition of certain categories of 

ethnological material of Peru and 

clarification of descriptions of preColumbian pottery and textile styles, 

ecclesiastical objects, and prints to 

which the import restrictions apply. The 

restrictions on the importation of 

archaeological and ethnological material 

will be in effect through June 9, 2027. 

Importation of such material of Peru, as 

described in the Designated List below, 

will be restricted through that date 

unless the conditions set forth in 19 

U.S.C. 2606 and 19 CFR 12.104c are 

met. 

The Designated List and additional 

information may also be found at the 

following website address: https://

eca.state.gov/cultural-heritage-center/ 

cultural-property-advisory-committee/ 

current-import-restrictions by selecting 

the material for ‘‘Peru.’’ 

Designated List of Archeological and 

Ethnological Material of Peru 

The Designated List contained in CBP 

Dec. 17–03, is amended to add certain 

categories of ethnological material of 

Peru and to clarify descriptions of preColumbian pottery and textile styles, 

ecclesiastical objects, and prints to 

which the import restrictions apply. For 

the reader’s convenience, CBP is 

reproducing the Designated List 

contained in CBP Dec. 17–03 in its 

entirety with these changes. Note that 

the Designated List also subsumes those 

categories of Moche objects from the 

Sipa ́n Archaeological Region of Peru for 

which import restrictions have been in 

place since 1990 (see T.D. 90–37). 

The Designated List includes 

archaeological and ethnological 

materials. Archaeological material 

ranges in date from approximately 

12,000 B.C. to A.D. 1532. Ethnological 

material dates to the Colonial period 

(A.D. 1532—1821) and includes objects 

directly related to the pre-Columbian 

past, ecclesiastical objects, and 

manuscripts and documents. 

The list is divided into the following 

categories of objects: 

I. Archaeological Material 

A. Pre-Columbian Textiles 

B. Pre-Columbian Metals 

C. Pre-Columbian Ceramics 

D. Pre-Columbian Lithics 

E. Pre-Columbian Perishable Remains 

F. Pre-Columbian Human Remains 

II. Ethnological Material 

A. Objects Directly Related to the PreColumbian Past 

B. Ecclesiastical Objects 

C. Colonial Manuscripts, Documents, and 

Prints 

Approximate chronology used to 

describe cultural periods of Peru. 

Rowe Lumbreras 

A.D. 1532–1821 ........................................................... Colonial Period/Viceroyalty of Peru 

A.D. 1440–1532 ........................................................... Late Horizon ................................................................ Inca Empire. 

A.D. 1100–1440 ........................................................... Late Intermediate Period ............................................ Regional states and kingdoms. 

A.D. 600–1100 ............................................................. Middle Horizon ............................................................ Huari (Wari) Empire. 


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Rowe Lumbreras 

200 B.C.–A.D. 600 ....................................................... Early Intermediate Period ........................................... Regional Cultures. 

1000–200 B.C .............................................................. Early Horizon .............................................................. Middle and Late Formative. 

1800–1000 B.C ............................................................ Initial Period ................................................................ Early Formative. 

2500–1800 B.C ............................................................ Late Pre-ceramic ......................................................... Late Archaic. 

4500–2500 B.C ............................................................ Middle Pre-ceramic ..................................................... Middle Archaic. 

6000–4500 B.C ............................................................ Early Pre-ceramic ....................................................... Early Archaic. 

12,000–6000 B.C ......................................................... Early Pre-ceramic ....................................................... Hunter-Gatherers. 

I. Archaeological Material 

A. Pre-Columbian Textiles 

Examples of pre-Columbian textiles 

include, but are not limited to, the 

following: 

1. Chimu ́

a. Pillows—Piece of cloth sewn into a 

bag shape and stuffed with cotton or 

plant fibers. Generally, the cloth is made 

in tapestry technique. Usually 60 cm. x 

40 cm. 

b. Painted Cloths—Flat cloth of cotton 

on which designs are painted. Range 

between 20 cm. and 6.1 m. 

c. Headdresses—Headdresses are 

usually made of feathers, especially 

white, green, and dark brown, which are 

attached to cloth and fitted to a cane or 

basketry frame. Feathers on the upper 

part are arranged to stand upright. 

d. Feather Cloths—Decorated with 

bird feathers, especially panels and 

tunics. They vary in shape and size; 

generally they depict geometric motifs 

and volutes. Vary from 20 cm.–3 m. in 

length, and may be up to 1.5 m. in 

width. 

e. Panels—Chimu ́ panels may be of 

two types: tapestry weave or plainweave cotton. Isolated anthropomorphic 

designs predominate and may be 

associated with zoomorphic motifs. 

Vary from 20 cm. x 20 cm. to 2.0 m. x 

1.8 m. 

f. Belts and Sashes—Generally made 

in tapestry technique, and 

predominantly of red, white, ocher, and 

black. As with other Chimu ́ textiles, 

they generally depict human figures 

with rayed headdresses. Up to 2.20 m. 

in length. 

2. Chancay 

a. Looms—Commonly found in 

Chancay culture, sometimes with pieces 

of the textile still on the loom. Often 

these pieces of cloth show varied 

techniques and are referred to as 

‘‘samples.’’ Usually 50 cm. x 20 cm. 

b. Loincloths—Triangular panels of 

cloth with woven tapestry borders. 

c. Dolls—Three dimensional human 

figures stuffed with plant fiber to which 

hair and other decorations are added. 

Sometimes they depict lone females; in 

other cases they are arranged in groups. 

Most importantly, the eyes are woven in 

tapestry technique; in fakes, they have 

embroidered features. Usually 20 cm. 

tall and 8 cm. wide. 

d. False Heads—In Chancay culture, 

false heads are made on a cotton or 

plant fiber cushion covered with plainweave cloth, decorated with shells, 

beads, metal, wood, or painting to 

depict facial features. They sometimes 

have real hair. Usually 30 cm. x 35 cm. 

e. Unkus/Tunics—Varied sizes and 

styles. Some are in plain weave, others 

in gauze, still others are in tapestry 

technique or brocade. They are 

recognized by their iconography such as 

geometric motifs, birds, fish, plants, and 

human figures. Miniatures are tiny; 

regular size examples are about 50 cm. 

x 50 cm. 

f. Belts—Chancay belts are 

multicolored, with geometric motifs 

rendered in tapestry technique. 

Sometimes the ends are finished in 

faux-velour technique. Usually 2 m. x 5 

cm. 

g. Panels—Chancay panels may be 

made in tapestry technique or may be 

painted on plain weave cloth. In these 

latter cases, the panels may depict fish, 

parrots, monkeys, viscachas, felines, 

foxes, and human figures. Vary in size 

from miniatures to 4 m. x 2 m. 

h. Standards—Chancay standards are 

supported on a frame of straight reeds 

covered with cotton cloth, which is 

painted in anthropomorphic designs in 

ochers and black. Sometimes they have 

a handle. Usually 20 cm. x 20 cm. 

i. Gauzes—Pieces of cloth made in 

openwork gauze technique, with very 

fine cotton threads. May have 

embroidered designs in the same thread 

that depict birds or other flora and 

fauna. Usually 80 cm. x 80 cm.; some 

are smaller. 

3. Nazca 

a. Three-Dimensional Cloths—Figures 

of many bright colors needle-knitted 

into long strips. Motifs include, but are 

not limited to, birds, flowers, humans, 

and mythical figures. Each figure is 

approximately 5 cm. long x 2 cm. wide. 

b. Unkus/Tunics—These include 

miniature and regular-sized tunics. 

They are generally of one color, mostly 

light brown. The neck edges, hem, and 

fringes have multicolored geometric 

designs. Fringes end in woven braids. 

Vary in size from miniatures up to 

approximately 1.5 m. x 0.8 m. 

c. Bags—There are bags of many sizes, 

from miniatures to large ones, generally 

with a narrow opening and a wide 

pouch. Some are decorated with fringe. 

Their iconography resembles the unku 

(tunic), stylized designs in yellow, red, 

and dark and light blue. 

d. Sashes—Nazca sashes are made on 

special looms. Their ends are decorated 

with plied fringe. 

e. Tie-Dye (Painted) Cloths—Most 

common are those made in the tie-dye 

technique, in which the textile is 

knotted and tied before it is dyed, so 

that when it is untied, there are negative 

images of diamonds, squares, and 

concentric dots. Most common are 

orange, red, blue, green, and yellow 

colors. Vary from approximately 20 cm. 

x 20 cm. to 2.0 m. x 1.8 m. 

f. Patchwork Cloths—Variant of the 

Tie-Dye cloth, in which little panels are 

made and later sewn together so that the 

resulting textile includes rectangles of 

tie-dyed panels of different colors. The 

cloth may have a decorative fringe. Vary 

from 20 cm. x 20 cm. to 2.0 m. x 1.8 m. 

g. Waras/Loincloths—Generally made 

of a flat piece of cloth with colorful 

borders depicting stylized geometric 

motifs. They terminate in fringe. 

Usually 50 cm. x 30 cm. 

h. Fans—Feathers inserted into a 

plant fiber frame of twisted cords. 

Commonly two colors of feathers are 

attached, such as orange and green, or 

yellow and blue. Usually 30 cm. x 20 

cm. 

4. Huari (Wari) 

a. Panels—Characterized by a 

complex and abstract iconography. 

Made in tapestry technique with a range 

of colors such as browns, beiges, 

yellows, reds, oranges, and greens. Vary 

from 20 cm. x 20 cm. to 2.0 m. x 1.8 m. 

b. Unkus/Tunics—Large with abstract 

and geometric iconography. Commonly 

the designs repeat in vertical bands. 

Generally, tunics have a cotton warp 

and camelid fiber weft. Some are so 

finely woven that there are 100 threads 

per cm2. Vary in size from miniatures 

up to 1.5 m. x 80 cm. 

c. Caps—Most common are the ‘‘fourcorner hats’’ made in a faux-velour 

technique that results in a velvety 


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texture. On the base cloth, small tufts of 

brightly-colored wool are inserted. 

d. Vinchas/Headbands or Sashes— 

These garments are made in tapestry 

weave or faux-velour technique and 

depict geometric motifs. 

e. Bags—Bags have an opening 

somewhat narrower than the body, with 

designs depicting felines, camelids, 

human faces, and faces with animal 

attributes. 

5. Paracas 

a. Esclavinas/Small Shoulder 

Ponchos—Paracas esclavinas are unique 

for their decoration with brightlycolored images in Paracas style, such as 

birds, flowers, animals, and human 

figures. Vary in size from miniatures up 

to 60 cm. x 30 cm. 

b. Mantles—Paracas mantles can be 

divided into five types, based on their 

decoration. All are approximately 2.5 m. 

x 1.6 m. 

i. Mantles with a plain field and 

woven borders; 

ii. Mantles with decorative 

(embroidered) borders and plain field; 

iii. Mantles with decorative 

(embroidered) borders and a decorative 

stripe in the center field; 

iv. Mantles with embroidered borders 

and center field embroidered in 

checkerboard-fashion; 

v. Mantles with embroidered borders 

and alternating diagonals of 

embroidered figures in the center field. 

c. Gauzes—Paracas gauzes are made 

of one color, such as lilac, yellow, red, 

or gray. They are generally rectangular 

and have a soft and delicate texture. 

Approximately 1 m. x 1 m. 

d. Panels—Paracas panels are 

generally of cloth and may have been 

used for utilitarian purposes. They are 

generally undecorated. Vary from 20 

cm. x 20 cm. to 2 m. x 1.8 m. 

e. Skirts—Paracas skirts are of two 

types: some are plain, made of cotton 

with decoration reserved for the ends; 

there are others that are elaborately 

embroidered with colorful images 

rendered in wool. These often form sets 

with mantles and other garments. Skirts 

are rectangular and very wide, with two 

fringed ties. Usually 3 m. long and 70 

cm. wide. 

f. Waras/Loincloths—Made of cotton, 

not as large as skirts, and may have 

embroidered edges. 

g. Slings—Paracas slings are 

decorated in Cavernas style, made of 

plant fiber, and are of small size, 

generally 1.5 m. x 5 cm. 

h. Furs—There are numerous 

examples of animal skins reported from 

Paracas contexts, including, but not 

limited to, the skins of the fox, viscacha, 

and guinea pig. Most are poorly 

preserved. 

6. Moche 

a. Bags—Moche bags are usually 

square, small, and have a short handle. 

They are made in tapestry technique 

with brightly-woven designs. Principal 

colors used are white, black, red, light 

blue, and ocher. 

b. Panels—Recognizable by their 

iconography, these tapestry-technique 

panels may show people on balsa-reed 

rafts surrounded by a retinue. They are 

rendered in a geometric fashion and are 

outlined in black and shown in profile. 

Scenes of marine life and fauna 

predominate. Vary from 20 cm. x 20 cm. 

to 2 m. x 1.8 m. 

c. Ornamental Canes—Small canes are 

‘‘woven’’ together in a twill technique 

using colorful threads that depict 

anthropomorphic designs. 

Approximately 10 cm. x 10 cm. 

7. Lambayeque Panels—Lambayeque 

panels are small, made in tapestry 

technique, of cotton and wool. Vary 

from 20 cm. x 20 cm. to 2 m. x 1.8 m. 

8. Inca 

a. Slings—There are two types of Inca 

slings. Ceremonial slings are oversize 

and elaborately decorated with 

geometric motifs, with long fringes. 

Utilitarian slings are smaller and almost 

always with decoration only on the 

pouch and far ends. The decoration is 

geometric and the slings have fringed 

ends. 

b. Unkus/Tunics—Inca tunics are 

well-made and colorful, mostly in red, 

olive green, black, and yellow. 

Decorative elements may be arrayed 

checkerboard fashion and are found on 

the upper and lower part of the garment. 

Vary in size from miniatures up to 

approximately 1.5 m. x 80 cm. 

c. Bags—Recognized by their bright 

colors, they have an opening that is 

narrower than the body and a wide 

pouch with long fringe and handle. Vary 

in size from miniatures up to 30 cm. x 

20 cm. 

d. Panels—Some are made of cotton 

using the double-cloth technique, based 

on light brown and beige. Lines of 

geometrically-rendered llamas 

predominate. Vary in size from 20 cm. 

x 20 cm. to 2 m. x 1.8 m. 

e. Mantles—Inca mantles are of 

standard dimensions, sometimes more 

than a meter long, generally rectangular. 

They are multi-colored and made of 

cotton warp and wool weft. Most 

common colors are dark red, olive 

green, white, and black. Generally 2.5 

m. x 1.6 m. 

f. Khipus/Quipus—Inca khipus 

(knotted string recording devices) are 

made of cotton and wool cords, 

sometimes with the two fibers plied 

together. Rarely is their original color 

preserved, though sometimes one sees 

light blues and browns. Some are 

wrapped with colorful threads on the 

ends of the cords. 80 cm. x 50 cm. 

9. Chiribaya Tunics, Bags, Panels, and 

Hats—Chiribaya textiles are mostly 

plain-weave warp-faced technique with 

complementary warps made with wool 

yarn in natural colors such as dark 

brown, black, white, and beige; and 

dyed yarn in red, green, or blue. The 

natural-colored yarns are usually weft 

yarns, and the dyed yarns appear as 

warp yarns. Designs include, but are not 

limited to, simple or alternating vertical 

stripes of varied widths with hook and 

rhombus designs, snakes, two-headed 

felines, and an anthropomorphic 

creature with human, cat, and lizard 

features. 

10. Chuquibamba 

a. Ponchos, Mantles, and Tunics— 

Chuquibamba ponchos and tunics are 

made of camelid fibers and decorated 

with tapestry and weft-patterned 

geometric patterns and figures inset in 

squares occurring in horizontally 

divided vertical stripes. Mantles and 

shawls may have fold lines and zones of 

different patterns. Designs typically are 

eight pointed stars, birds, snakes, cats, 

frogs, and llamas. 

b. Loincloths—Small rectangular 

cloths with four ties on the longer sides. 

Designs are in patterned bands, and 

some have end borders or patterned 

bands in the center. 

c. Belts—A long, narrow textile with 

ties at each end. Belts usually have a 

single-colored background with designs 

in a rectangular grid. Some belts are two 

layers of fabric seamed together to form 

a pouch with an opening in the upper 

side. 

d. Bags—Large and small square or 

trapezoidal bags are created from a 

single rectangle of fabric, folded with 

seamed sides, with cords attached at the 

mouth, and sometimes the bottom 

corners, to form straps. May have lavish 

fringe hanging from the bottom edge. 

Finely woven tapestry or weft-pattern 

designs are typically in bands or within 

squares. 

11. Sihuas 

a. Mantles, Tunics, and Panels— 

Cotton and camelid fibers in highly 

varied weaving techniques such as 

warp-face, slit tapestry, cross-looping, 

and tubular edging. Designs include the 

Rayed Head, Step Platform, 

anthropomorphic, zoomorphic, and 

geometric designs, often with zigzagging lines and borders. May have 

stripes of alternating colors. Designs 

may be woven or tie-dyed. Colors often 

are red, blue, green, and yellow. May 

have long fringes. 


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B. Pre-Columbian Metal Objects 

Examples of pre-Columbian metal 

objects include, but are not limited to, 

the following: 

1. Idols—Anthropomorphic or 

zoomorphic figures, some hollow and 

others solid. They may be made of gold 

and silver, they may be gilded, or of 

copper, or bronze. Sizes vary from 2 

cm.–20 cm. in height. 

2. Small Plaques—Thin sheets of gold, 

silver, copper, or gilded copper used to 

cover the body and made in pieces. 

They have repousse ́ or punched designs 

on the edge and middle of the sheet. 

Average 0.6 cm in height. 

3. Axes—Almost always T-shaped 

and solid. There are also axes in a 

traditional axe-head shape. May be 

made of bronze or copper. 

4. Mace Heads—These come in a great 

variety of shapes such as star-shaped, 

flat, or of two or three levels. They may 

be made of copper or bronze. Most have 

a central hole through which a wooden 

handle was affixed. 

5. Musical Instruments 

a. Trumpets—Wind instrument with a 

tubular body and flaring end, fastened at 

the joint. May be made of copper or 

bronze. 

b. Bells—Of varying shapes and 

varying materials such as gold, silver, 

copper, or silver-plated copper. 

c. Conos—Instrument shaped from a 

sheet of hammered metal, with or 

without a clapper. Commonly made of 

copper or silver. Up to 0.5 m. in height. 

d. Rattles—Musical instrument with a 

central hole to accommodate a handle. 

May be made of copper or bronze. Vary 

from 6 cm.–25 cm. in height. 

e. Jingle Bells—Spherical bells with 

an opening on the lower part and a 

handle on the upper part so they can be 

suspended from a sash or other garment. 

They contain a small stone or a little 

ball of metal. The handles may be 

decorated. Jingle bells may decorate 

another object, such as rhythm sticks, 

and may be of gold, silver, or bronze. 

Used in all pre-Columbian cultures of 

Peru. 

f. Chalchachas—Instruments shaped 

like a bivalve with repousse ́ decoration. 

Made of copper. 

g. Quenas (flutes)—Tubular 

instruments, generally made of silver, 

with perforations to vary the tone. 

6. Knives—Knives vary depending on 

their provenance. They can have little or 

no decoration and can be of different 

metals or made of two metals. The bestknown are the tumis from the Sica ́n 

culture, which have a straight or 

trapezoidal handle and a half-moon 

blade. The solid handle may have 

carved or stamped designs. Generally 

made of gold, silver, or copper. In 

ceremonial examples, the blade and 

upper part may depict an 

anthropomorphic figure standing or 

seated, or simply a face or mask with an 

elaborate headdress, earspools, and 

inset semi-precious stones. Tumi 

handles can be triangular, rectangular, 

or trapezoidal, and blades can be 

ovaloid or shaped like a half-moon. 

7. Pins—With a straight shaft and 

pointed end, pins can be flat or 

cylindrical in cross-section. Most are 

hammered, and some are hollow. They 

can be made of gold, silver, copper, 

bronze, gold-plated silver, or of two 

metals. Some pins are zoomorphic, 

others have floral images, and still 

others depict fish. Some have a round 

head; others have a flat, circular head; 

still others have the shape of a halfmoon. There are hollow-headed rattle 

pins; others have solid 

anthropomorphic images. Most are up to 

50 cm. in length, with heads that are up 

to 10 cm. in diameter. The small pins 

are about 5 cm. in length. 

8. Vessels—There are a variety of 

metal vessels; they may be made of gold, 

silver, gilded silver, gilded copper, 

silver-covered copper, or bronze. There 

are miniatures, as well as full-size 

vessels. Such vessels are known from all 

cultures. Often formed as beakers, 

bowls, open plates, globular vessels, and 

stirrup-spout bottles. The exact form 

and surface decoration varies from 

culture to culture. Shapes include, but 

are not limited to beakers, bowls, and 

plates. Average 0.3 m.–0.5 m. in height. 

9. [Reserved] 

10. Masks—May be made of gold, 

silver, gilded silver, copper, gilded 

copper, silver-covered copper, or may 

be made of two metals. They vary 

greatly in shape and design. The bestknown examples come from the 

following cultures: Moche, Sica ́n, 

Chimu ́, Huari (Wari), Inca, Nazca, and 

Chincha. The northern coast examples 

often have insets of shell, precious or 

semi-precious stones, and may have 

plant resins to depict the eyes and teeth. 

Almost all examples that have not been 

cleaned have a surface coloring of red 

cinnabar. Examples from Sica ́n measure 

up to 49 cm. in width by 29 cm. in 

height. Miniature examples can measure 

7 cm. x 5 cm. Miniature masks are also 

used as decorations on other objects. 

Copper examples generally show heavy 

oxidation. 

11. Crowns—Thin or thick sheets of 

metal made to encircle the head. They 

may be made of silver, gold, copper, 

gilded silver, silver-covered copper, or 

may be made of two metals. Some 

examples have a curved central part and 

may be decorated with pieces of metal 

and real or artificial feathers that are 

attached with small clamps. Found in 

all cultures. 

12. Penachos (Stylized Metal 

Feathers)—Stylized metal feathers used 

to decorate crowns. May be made of 

gold, silver, copper, or silver-covered 

copper. 

13. Tocados (Headdresses)— 

Headdress ornaments which may be 

simple or complex. They may be made 

of one part, or may include many 

pieces. Found in all cultures. They may 

take the form of crowns, diadems, or 

small crowns. They may have two 

stylized feathers to decorate the crown 

and to hold it to the hair (especially the 

Chimu ́ examples). Paracas examples 

generally have rayed appendages, with 

pierced disks suspended from the ends 

of the rays. 

14. Turbans—Long pieces of cloth 

that are wrapped around the head. 

Metal ornaments may be sewn on 

turbans. Found in all cultures; the metal 

decorations and the cloth vary from 

culture to culture. 

15. Spoons—Utilitarian objects made 

of gold, silver, or copper. 

16. Lime Spatulas—Miniature spatula: 

a straight handle has a slightly spoonshaped end. The handle may have an 

anthropomorphic figure. Made of gold, 

silver, or copper. 

17. Ear Spools—Ear spools are 

generally made of a large cylinder that 

fits through the earlobe with an even 

larger disk or decorative sheet on one 

side. The disk may be decorated with 

repousse ́, stamped, or engraved designs, 

or may have inset stone or shell. May be 

made of gold, silver, copper, or made of 

two metals. Ear spools are found in all 

cultures. The largest measure up to 15 

cm. height; typical diameter: 5 cm.–14 

cm. 

18. Nose Ornaments—Of varied 

shapes, nose ornaments can be as 

simple as a straight tube or as complex 

as a flat sheet with repousse ́ design. In 

the upper part, there are two points to 

attach the ornament to the septum. They 

may be of gold, silver, or copper, or may 

be made of two metals. 

19. Earrings—Decoration to be 

suspended from the earlobes. 

20. Rings—Simple bands with or 

without designs. Some are two bands 

united by filigree spirals. Some have 

inset stones. May be made of silver, 

gold, copper, or alloys. 

21. Bracelets—Bracelets are made of 

sheets of metal, commonly in a straight 

or slightly trapezoidal shape, with 

stamped or repousse ́ designs. Some are 

simple, narrow bands. Found in all 

cultures and with varied designs. May 

be made of gold, silver, bronze, or alloys 


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of copper. Generally 4 cm.–14 cm. in 

width. 

22. Necklaces—Necklaces are made of 

beads and/or small carved beads. May 

be made of shell, bone, stone, gold, 

silver, copper, or bronze. The beads are 

of varied shapes. All beads have two 

lateral perforations to hold the cord. 

23. Tweezers—Made in one piece, 

with two identical ends and a flexed 

central handle. They typically are 

triangular, trapezoidal, and ovaloid in 

shape. The middle of the handle may 

have a hole so the tweezers can be 

suspended from a cord. 

24. Feather Carriers—Conical objects 

with a pointed, hollow end, into which 

feathers, llama skin, or monkey tails are 

inserted and held in place with tar. 

They may be made of gold, silver, or 

gilded or silver-plated copper. 

C. Pre-Columbian Ceramics 

Examples of pre-Columbian ceramics 

include, but are not limited to, the 

following: 

1. Chavı ́n 

a. Date: 1200–200 B.C. 

b. Characteristics: 

i. Decoration: A gray-black color. 

Incised, modeled, and high and lowrelief are combined to work out designs 

in grays and browns. The surface may 

also juxtapose polished and matte finish 

in different design zones. 

ii. Forms: Bottles, plates, and bowls. 

iii. Size: Generally 5 cm.–30 cm. 

iv. Identifying: Characteristic traits of 

Cupisnique and Chavı ́n ceramics are 

globular body with a flat base and 

stirrup spout; thick neck with an 

obvious and everted lip. Chavı ́n style 

also includes long-necked bottles, bowls 

with flaring walls, and highly-polished 

relief-decorated surfaces. 

v. Styles: Chavı ́n influence is seen in 

Cupisnique, Chongoyape, Poemape, 

Tembladera, Patapo, and Chilete styles. 

2. Vicu ́ s 

a. Date: 900 B.C.–A.D. 500 

b. Characteristics: 

i. Decoration: Geometric designs in 

white on red, made using negative 

technique. There are also monochrome 

examples. 

ii. Forms: Anthropomorphic, 

zoomorphic, and plant-shaped vessels. 

Some have a double body linked by a 

tube or common opening. 

iii. Size: Generally 30 cm.–40 cm. tall. 

3. Viru ́ or Gallinazo 

a. Characteristics: 

i. Decoration: Negative technique over 

orange background. 

ii. Forms: Faced anthropomorphic 

and zoomorphic vessels, face bottles for 

daily use in dwellings, and ‘‘cancheros’’ 

(type of pot without a neck and with a 

horn-shaped handle). 

iii. Size: Up to 15 cm. tall. 

iv. Identifying: The surface is 

basically orange; the vessels have a 

truncated spout, an arched bridge (like 

a tube) as handle, and geometric 

symbols in negative technique 

(concentric circles, frets and wavy 

lines). When the vessels represent a 

face, the eyes are like ‘‘coffee beans,’’ 

applied on the surface and with a 

transverse cut. 

4. Pucara 

a. Date: 300 B.C.–A.D. 300. 

b. Characteristics: 

i. Decoration: Slip-painted and 

incised. Modeled elements include 

stylized felines and camelids, along 

with an anthropomorphic image 

characteristically depicted with a staff 

in each hand. Vessels are typically 

decorated in yellow, black, and white 

on the red background of the vessel. 

Designs are characteristically outlined 

by incision. There may be modeled 

decoration, such as feline heads, 

attached to the vessels. 

ii. Shapes: Tall bowls with annular 

ring bases predominate, along with 

vessels that depict anthropomorphic 

images. 

iii. Size: Bowls are up to 20 cm. in 

diameter and 20 cm. in height. 

5. Paracas 

a. Date: Developed around 200 B.C. 

b. Characteristics: 

i. Vessels are typically incised, with 

post-fired resin painting on a black 

background. 

ii. Size: 10 cm.–15 cm. tall. 

6. Nazca 

a. Date: A.D. 100–600. 

b. Characteristics: 

i. Color: Typically very colorful, with 

a range of slips including cream, black, 

red, violet, orange, gray, all in a range 

of tones. 

ii. Slip: Background slip is generally 

cream or orange. 

iii. Shapes: Cups, bowls, beakers, 

plates, double-spout-and-bridge bottles, 

anthropomorphic figures, and musical 

instruments. 

iv. Decoration: Realistic drawings of 

fantastic creatures, including the 

‘‘Flying God.’’ In late Nazca, bottles are 

broader and flatter and the designs are 

arrayed in broad bands. Typically have 

decorations of trophy heads, geometric 

motifs, and painted female faces. 

v. Size: Generally 5 cm.–20 cm. 

7. Recuay 

a. Date: A.D. 100–700. 

b. Characteristics: 

i. Slip: Both positive and negative 

slip-painting is found, generally in 

colors of black, cream and red. 

ii. Shapes: Sculptural, especially 

ceremonial jars known as ‘‘Paccha’’, 

which have an elaborate outlet to serve 

a liquid. 

iii. Decoration: Usually show groups 

of religious or mythical personages. 

iv. Size: Generally 20 cm.–35 cm. in 

height. 

8. Pashash 

a. Date: A.D. 1–600. 

b. Characteristics: 

i. Decoration: Positive decoration in 

black, red, and orange on a creamywhite background. Some show negative 

painting. 

ii. Shapes: Anthropomorphic vessels, 

bottles in the form of snakes, bowls with 

annular base, and large vessels with 

lids. 

iii. Size: The anthropomorphic vessels 

are up to 20 cm. in height, serpent 

bottles are around 25 cm. wide x 10 cm. 

tall, and lidded vessels are more than 30 

cm. in height. 

iv. Motifs: The decorations are 

rendered in positive or negative 

painting in zones that depict profile-face 

images of zoomorphic figures, serpents, 

or worms, seen from above and with 

trapezoidal heads. 

9. Cajamarca 

a. Date: A.D. 500–900. 

b. Characteristics: 

i. Decoration: Pre-fired slip-painting 

with geometric designs such as stepped 

triangles, circles, lines, dots, and rows 

of volutes. They may include, but are 

not limited to, stylized birds, felines, 

camelids, batrachians, and serpents. 

Spiral figures may include a step-fret 

motif in the base of the bowls. 

ii. Shapes: Pedestal base bowls, tripod 

bowls, bottles with annular ring base, 

goblets, spoons with modeled handles, 

and bowls with carinated edges. 

10. Moche 

a. Date: A.D. 200–700. 

b. Characteristics: 

i. Forms: Stirrup-spout vessels, 

vessels in the shape of humans, animals, 

or plants. 

ii. Colors: Generally red and white. 

iii. Manufacture: Often mold-made. 

iv. Size: Generally 15 cm.–25 cm. in 

height. 

v. Decoration: Wide range of images 

showing scenes of real life or mythical 

scenes depicting gods, warriors, and 

other images. 

11. Tiahuanaco (Tiwanaku) 

a. Date: A.D. 200–700. 

b. Characteristics: 

i. Decoration: Pre-fired slip-painting 

on a highly polished surface. 

Background is generally a red-orange, 

with depictions of human, animal, and 

geometric images; generally outlined in 

black and white lines. 

ii. Shapes: Plates, cups, jars, beakers, 

open-backed incense burners on a flat 

base. 

12. Lima 

a. Date: A.D. 200–700. 


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b. Characteristics: 

i. Decoration: Pre-fired slip-painting 

with interlocking fish and snake 

designs, and geometric motifs such as 

zig-zags, lines, circles, and dots. 

ii. Shapes: Breast-shaped bottles, 

cups, plates, bowls, and cook pots. 

iii. Styles: Related to Playa Grande, 

Nievera, and Pachacamac styles. 

13. Huari (Wari) 

a. Date: A.D. 500–1000. 

b. Characteristics: 

i. Colors: Orange, cream, violet, white, 

black, and red. 

ii. Motifs: Anthropomorphic, 

zoomorphic, and plant shapes, both 

stylized and realistic. In Pachacamac 

style one finds vessels with a globular 

body and long, conical neck. In Atarco 

style, there is slip-painting that retains 

Nazca motifs, especially in the full-body 

felines shown running. 

iii. Slip: Background slip is commonly 

cream, red, or black. 

iv. Styles: Related to Vinaque, Atarco, 

Pachacamac, Qosqopa, Robles Moqo, 

Conchopata, and Caquipampa styles. 

v. Size: Most are around 25 cm. tall. 

Robles Moqo urns may be up to 1 m. in 

height. 

14. Santa 

a. Date: Derived from Huari (Wari) 

style, around A.D. 800. 

b. Characteristics: 

i. Decoration: Slip-painted with 

figures and designs in black and white 

on a red background. There are also 

face-neck jars. 

ii. Shapes: Effigy vessels, face-neck 

jars, double-body vessels. 

iii. Sizes: Generally 12 cm.–20 cm. 

tall. 

iv. Shapes: Jars have a globular body 

and face on the neck. The border may 

have black and white checkerboard. The 

body sometimes takes the shape of a 

stylized llama head. Common are white 

lines dotted with black. Double-body 

vessels generally have an 

anthropomorphic image on the front 

vessel, and a plain back vessel. 

15. Chancay 

a. Date: A.D. 1000–1300. 

b. Characteristics: 

i. Treatment: Rubbed surface. 

ii. Slip: White or cream with black or 

dark brown designs. 

iii. Molds: Molds are commonly used, 

especially for the anthropomorphic 

figures called ‘‘cuchimilcos,’’ which 

represent naked male and female figures 

with short arms stretched to the sides. 

iv. Size: 3 cm.–1 m. 

16. Ica-Chincha 

a. Date: Began to be developed in A.D. 

1200. 

b. Characteristics: 

i. Decoration: Polychrome painting in 

black and white on red. 

ii. Designs: Geometric motifs 

combined with fish and birds. 

iii. Shapes: Bottles with globular 

bodies and tall necks and with flaring 

rims. Cups and pots. 

iv. Size: Generally 5 cm.–30 cm. high. 

17. Chimu ́

a. Date: A.D. 900–1500. 

b. Characteristics: 

i. Slip: Monochrome. Usually black or 

red. 

ii. Shapes: Varied shapes. Commonly 

made in molds. They may represent 

fish, birds, animals, fruit, people, and 

architectural forms. One sees globular 

bodies with a stirrup spout and a small 

bird or monkey at the base of the neck. 

iii. Size: Between 30 cm.–40 cm. in 

height. 

18. Lambayeque 

a. Date: A.D. 700–1100. 

b. Characteristics: 

i. Color: Generally black; a few are 

cream with red decoration. 

ii. Shapes: Double spout and bridge 

vessels on a pedestal base are common. 

At the base of the spout one sees 

modeled heads and the bridge also often 

has modeled heads. 

iii. Size: 15 cm.–25 cm. in height. 

19. Inca 

a. Date: A.D. 1300–1500. 

b. Characteristics: 

i. Decoration: Slip-painted in black, 

red, white, yellow, and orange. 

ii. Designs: Geometric designs 

(rhomboids and triangles) and stylized 

bees, butterflies, and animals. 

iii. Sizes: 1 cm. to 1.5 m. in height. 

20. Chiribaya 

a. Date: A.D. 1000–1476. 

b. Characteristics: 

i. Shapes: Bowls, cups, beakers, urns, 

jars, bottles, and pitchers. 

ii. Decoration: Polychrome geometric 

pattern motifs in red, white, cream, 

black, orange, and brown. White dots 

are common. 

21. Chuquibamba 

a. Date: A.D. 1000–1476. 

b. Characteristics: 

i. Shapes: Pumpkin-shaped bowls, 

cups, canteens, and ceramic slabs. 

ii. Decoration: Dark red slip decorated 

with black lines and polychrome paint. 

Linear designs include, but are not 

limited to camelids, birds, eight-pointed 

stars, cross-hatched and angular 

designs, sometimes delimited with 

rectangles. Slabs are decorated with 

geometric designs and anthropomorphic 

and zoomorphic figures. 

22. Teatino 

a. Date: A.D. 600–1000. 

b. Characteristics: 

i. Shapes: Open and closed vessels 

including mammiform jugs, canteens, 

spherical jars, and tripod vessels. 

ii. Decoration: Reddish brown paste 

decorated with engraving, incising, and 

punctation. 

23. Pativilca 

a. Date: A.D. 600–1000. 

b. Characteristics: 

i. Shapes: Jugs and bottles. 

ii. Decoration: Orange monochrome 

mold-made pottery. Molds created 

stamped designs of monkeys, toads, 

birds, and anthropomorphic mythical 

creatures. 

24. Huaura 

a. Date: A.D. 600–1000 

b. Characteristics: 

i. Shapes: Cups, jars, and plates. 

ii. Decoration: Red to orange paste 

decorated with polychrome geometric, 

anthropomorphic, and zoomorphic 

designs. 

D. Pre-Columbian Lithics 

Examples of pre-Columbian lithics 

include, but are not limited to, the 

following: 

1. Chipped Stone: Projectile Points 

a. Paija ́n Type Points 

i. Size: Generally 8 cm.–18 cm. 

ii. Shape: Triangular or heart-shaped. 

iii. Color: Generally reddish, orange, 

or yellow. Can be made of quartz. 

b. Leaf-Shaped Points 

i. Size: Generally 2.5 cm.–15 cm. 

ii. Shape: Leaf-shaped. Can be ovaloid 

or lanceolate. 

iii. Color: Generally bright reds, 

yellows, ochers, quartz crystals, milky 

whites, greens, and blacks. 

c. Paracas Type Points 

i. Size: 0.3 cm.–25 cm. 

ii. Shape: Triangular and lanceolate. 

Show marks of pressure-flaking. Often 

they are broken. 

iii. Color: Generally black. 

d. Chivateros Type Blanks 

i. Size: Generally 0.8 cm.–18 cm. 

ii. Shape: Concave indentations on 

the surface from working. 

iii. Color: Greens, reds, and yellows. 

2. Polished Stone 

a. Bowls—Vessels of dark coloredstone, sometimes streaked. They have a 

highly polished, very smooth surface. 

Some show external carved decoration. 

Diameters range from 12 cm–55 cm. 

b. Cups—Vessels of dark-colored 

stone. Generally, have flaring sides. 

Typical of the Late Horizon. They are 

highly polished and may have external 

carved designs or may be in the shape 

of heads. 18 cm.–28 cm. in height. 

c. Conopas—Small vessels in the form 

of camelids with a hollow opening on 

the back. They are black to greenishblack and highly polished. 0.8 cm.–16 

cm. in length. 

d. Idols—Small anthropomorphic 

figurines, frequently found in Middle 

Horizon contexts. The almond-shaped 

eyes with tear-bands are characteristic 

of the style. Larger examples tend to be 

of lighter-colored stone while the 


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smaller ones are of dark stones. 12 cm.– 

28 cm. in height. 

e. Mace Heads—Varying shapes, most 

commonly are doughnut-shaped or starshaped heads, generally associated with 

Late Intermediate Period and Inca 

cultures. Commonly black, gray, or 

white, 0.8 cm.–20 cm. in diameter. 

f. Metalworking Hammers—Elongated 

shapes, frequently with one flat surface; 

highly polished. Generally, of darkcolored stone, 3 cm.–12 cm. 

3. Carved Material 

a. Tenon Heads—These heads have an 

anthropomorphic face, prominent lips, 

and enormous noses. Some, especially 

those carved of diorite, have snake-like 

traits. The carved surface is highly 

polished. 

b. Tablets—With high-relief design. 

The upper surface has a patina. They 

range from 20 cm. to more than 1 m. in 

length. 

E. Pre-Columbian Perishable Remains 

Examples of pre-Columbian 

perishable remains include, but are not 

limited to, the following: 

1. Wood 

a. Keros (Beakers)—The most 

common form is a bell-shaped beaker 

with a flat base, though some have a 

pedestal like a goblet. Decoration varies 

with the period: 

i. Pre-Inca: Very rare, they have 

straight sides and incised or high-relief 

decoration. Some have inset shells. 

ii. Inca: Generally, they are incised 

with geometric designs on the entire 

exterior. 

iii. Colonial Inca: Lacquer painted on 

the exterior to depict scenes of daily 

life, nature, and war. 

b. Staffs—Objects of ritual or 

ceremonial use made of a single piece 

of wood. They can be distinguished on 

the basis of two or three of the following 

traits: 

i. On the lower third, the staff may 

have a metal decoration. 

ii. The body itself is cylindrical and 

of variable length. 

iii. The upper third may have 

decorations such as inset shell, stone, or 

metal. Some staffs function as rattles 

and, in these cases, the rattle is in the 

upper part. 

c. Carvings—Worked blocks of wood, 

such as wooden columns (orcones) to 

support the roofs of houses: Prevalent in 

Chincha, Chimu ́, and Chancay cultures. 

Individuals may be depicted standing or 

seated on a pedestal. In the upper part 

there is a notch to support the beams, 

which generally has a face, sometimes 

painted, at the base of the notch. Their 

length varies, but they are generally at 

least a meter or more. 

d. Boxes—Small lidded boxes, carved 

of two pieces of wood. Generally the 

outer surface of the box and lid are 

carved in relief. Prevalent in Chimu ́- 

Inca cultures. They measure 

approximately 20 cm. x 10 cm. 

e. Mirrors—Wooden supports for a 

reflective surface of polished anthracite 

or pyrite. In some cases the upper part 

of backs of mirrors are worked in relief 

or have insets of shell. Prevalent in 

Moche culture. 

f. Paddles and Rudders—Large 

carvings made of a single piece of wood. 

Paddles have three parts: the blade, the 

handle (sometimes decorated), and an 

upper decorated part, which can have 

metal plaques or decorative painting. 

Rudders have two parts: the blade and 

the handle, which may be carved in 

relief. Prevalent in Chincha culture. 

Paddles can be 2.30 m. in length and 

rudders are up to 1.4 m. 

g. Utensils—Bowls and spoons made 

of wood decorated with zoomorphic or 

anthropomorphic motifs. 

h. Musical Instruments—Trumpets 

and whistles. Trumpets can be up to 1.2 

m. long and are generally decorated on 

the upper third of the instrument. 

Whistles vary a great deal, from the 

undecorated to those decorated with 

human forms. Prevalent in Moche, 

Huari (Wari), and Inca cultures. 

2. Bone 

a. Worked Bone—Tools, ornaments, 

and other items made from bone. 

Examples include, but are not limited to 

weaving tools, spoons, ornaments, and 

Chavı ́n pieces with incised decorations. 

The bones are generally the long bones 

of mammals. They vary from 10 cm.–25 

cm. in length. 

b. Balance Weights—Flat rectangles of 

bone about 10 cm. in length. Prevalent 

in Chincha culture. 

c. Musical Instruments—Quenas 

(flutes) and antaras (panpipes) in 

various shapes. Prevalent in Paracas, 

Chincha, and Ancon cultures. 

3. Gourds 

a. Vessels—Bowls, pots, and holders 

for lime (for coca chewing). May have 

carved or pyro-engraved decoration. 

Produced from the Preceramic onward. 

b. Musical Instruments—Ocarinas, 

small flutes, and whistles. Inca 

examples may have incised decoration 

or decoration with cords and feathers. 

4. Canes 

a. Musical Instruments—Flutes 

(especially in Chancay culture), 

panpipes, and whistles. Flutes are often 

pyro-engraved. Panpipes can have one 

or two tiers of pipes, which may be 

lashed together with colored thread. 

Prevalent in Nazca culture. 

5. Straw Weaving Baskets—Basketry 

over a cane armature, in the shape of a 

lidded box. Sometimes the basketry is 

made of several colors of fiber to work 

out geometric designs. Some still hold 

their original contents: needles, spindle 

whorls, spindles, balls of thread, loose 

thread, etc. Prevalent in Chancay 

culture. 

6. Shell 

a. Musical Instruments—Instruments 

made from marine shells such as 

Strombus galeatus, Malea ringens, etc. 

Some, especially those from the 

Formative Period, with incised 

decoration. 

b. Jewelry—Small beads and charms 

worked of shell, chiefly Spondylus 

princeps, used mainly in necklaces and 

pectorals. Prevalent in Moche, Chimu ́, 

and Inca cultures. 

7. False Shrunken Heads—False 

shrunken heads can be recognized 

because they are made of the skin of a 

mammal, with some of the fur left 

where the human hair would be. The 

skin is first smoked, then pressed into 

a mold to give it a face-like shape. The 

eyes, nose, mouth and ears are simple 

bumps without real holes. Further, the 

skin is very thin and yellowish in color. 

Often the ‘‘heads’’ have eyebrows and 

mustaches formed by leaving some of 

the animal hair, but these features are 

grotesque because they appear to grow 

upside down. 

F. Pre-Columbian Human Remains 

Examples of pre-Columbian human 

remains include, but are not limited to, 

the following: 

1. Mummies—Peruvian mummies 

were formed by natural mummification 

due to the conditions of burial; they 

have generally not been eviscerated. 

Usually found in a flexed position, with 

extremities tied together, resulting in a 

fetal position. In many cases, the cords 

used to tie the body in this position are 

preserved. 

2. Modified Skulls—Many ancient 

Peruvian cultures practiced cranial 

modification. Such skulls are easily 

recognized by their unnatural shapes. 

3. Skulls Displaying Trepanation— 

Trepanation is an operation performed 

on a skull; the resulting cuts, easily 

visible on a bare skull, take various 

forms. Cuts may be less easily 

distinguished if skin and hair are 

present: 

a. Principal Techniques. 

i. Straight cuts: these cuts are pointed 

at the ends and wider in the center. 

Openings made this way have a 

polygonal shape. 

ii. Cylindrical-conical openings: the 

openings form a discontinuous line. The 

resulting opening has a serrated edge. 

iii. Circular: generally made by a file. 

The resulting hole is round or elliptical, 

with beveled or straight edges. This is 

the most common form of trepanation. 


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4. Pre-Columbian Trophy Heads— 

Trophy heads can be identified by the 

hole made in the forehead to 

accommodate a carrying cord. When the 

skin is intact, the eyes and the mouth 

are held shut with cactus thorns. 

Finally, the occiput is missing since that 

is how the brain was removed when the 

trophy head was prepared. 

5. Shrunken Trophy Heads from the 

Amazon—These heads have had the 

bones removed and then have been 

cured to shrink them. They are 

recognizable because they conserve all 

the traits of the original skin, including 

hair and hair follicles. The mouth is 

sewn shut and generally there are 

carrying cords attached. There may be 

an obvious seam to repair the cuts made 

when the skin was removed from the 

skull. Finally, the skin is thick (up to 2.5 

mm.) and has a dark color. Trophy 

heads vary between 9.5 cm. and 15.5 

cm. in height. 

6. Tattoos—Tattooing in preColumbian Peru was practiced mainly 

on the wrists. Most common are 

geometric designs, including bands of 

triangles and rhomboids of a bluish 

color. 

II. Ethnological Material 

A. Objects Directly Related to the PreColumbian Past 

1. Colonial Indigenous Textiles 

a. Predominant materials: Cotton and 

wool. 

b. Description: These textiles are 

characterized by the cut of the cloth, 

with the four borders or selvages 

finished on the same loom. Clothes are 

untailored and made from smaller 

pieces of convenient sizes that were 

then sewn together. Colonial indigenous 

textiles of the period are differentiated 

from pre-Columbian textiles primarily 

by their decoration: western motifs such 

as lions, heraldic emblems, and Spanish 

personages are incorporated into the 

designs; sometimes fibers distinct from 

cotton or wool (threads of silver, gold, 

and silk) are woven into the cloth; and 

the colors tend to be more vivid because 

the fabrics were made more recently. 

Another important characteristic of the 

clothing is the presence of tocapus or 

horizontal bands of small squares with 

anthropomorphic, zoomorphic, 

phytomorphic, and geometric 

ideographs and designs. Characteristic 

textiles include, but are not limited to, 

the following: 

i. Panels—Rectangular or square 

pieces of various sizes. 

ii. Anacus—Untailored woman’s dress 

consisting of two or three long 

horizontal pieces of cloth sewn together 

that was wound around the body and 

held in place with ‘‘tupus’’ (pins). 

iii. Unkus/Tunics—Men’s shirt with 

an opening for the head. Sometimes has 

sleeves. 

iv. Llicllas/Shoulder Mantles— 

Rectangular piece of cloth that women 

put over their shoulders and held in 

place by a tupu; standard size: 1 m. x 

1.15 m. Generally has a tripartite design 

based on contrasting panels that 

alternate bands with decoration and 

bands with solid colors. 

v. Chumpis/Belts—A woven belt, 

generally using tapestry technique. 

2. Tupus 

a. Material: Silver, gilded silver, 

copper, bronze. May have inlays of 

precious or semi-precious stones. 

b. Description: Tupus were used to 

hold in place llicllas and anacus. They 

are pins with a round or elliptical head, 

with piercing, repousse ́, and incised 

decorations. The difference between 

pre-Columbian and ethnological tupus 

can be seen in the introduction of 

Western designs, for example bi-frontal 

eagles and heraldic motifs. 

3. Keros 

a. Material: Wood. 

b. Description: The most common 

form is a beaker-like cup with truncated 

base. After the Conquest, keros started 

to be decorated with pictorial scenes. 

The most frequently used techniques 

include incision, inlaying pigments in 

wood, and painting. Motifs include, but 

are not limited to, geometric designs, 

figures under a rainbow (an Inca 

symbol), ceremonial rituals, scenes of 

war, and agricultural scenes. Sometimes 

are in the form of human or zoomorphic 

heads. 

4. Cochas or Cocchas 

a. Material: Ceramic. 

b. Description: Ceremonial vessels 

with two or more concentric interior 

compartments that are linked. Often 

decorated with volutes representing 

reptiles. 

5. Aribalos 

a. Material: Ceramic. 

b. Description: The post-Conquest 

aribalos have a flat base, often using a 

glaze for finishing, and the decoration 

includes Inca and Hispanic motifs. 

6. Pacchas 

a. Material: Stone, ceramic. 

b. Description: One of the 

characteristics of pacchas is that they 

have a drain, which is used to sprinkle 

an offering on the ground. They have 

pictorial or sculpted relief decorations 

symbolizing the benefits hoped for from 

the ritual. 

B. Ecclesiastical Objects 

In Colonial paintings and sculptures, 

European religious themes were 

reinterpreted by indigenous and mestizo 

artists who added their own images and 

other characteristics to create a distinct 

iconography. 

Examples of ecclesiastical objects 

include, but are not limited to, the 

following: 

1. Sculpture 

Types of sculptures include, but are 

not limited to, the following: 

a. Three-Dimensional Sculpted 

Images—In the Peruvian Colonial 

period, these were made of maguey (a 

soft wood) and occasionally of cedar or 

walnut. 

b. Images Made of a Dough Composed 

of Sawdust, Glue, and Plaster—After 

they were sculpted, figures were dressed 

with cloth dipped in plaster. 

c. Images to be Dressed—These are 

wooden frames resembling mannequins, 

with only the head and arms sculpted 

in wood (cedar or maguey). The images 

were dressed with embroidered clothes 

and jewelry. Frequently other elements 

were added, such as teeth and false 

eyelashes, wigs of real hair, eyes of 

colored glass, and palates made of glass. 

2. Paintings—Catholic priests 

provided indigenous and mestizo artists 

with canvases and reproductions of 

European works of art, which the artists 

then ‘‘interpreted’’ with their own 

images and other indigenous 

characteristics. These may include 

symbolically associating Christian 

religious figures with indigenous 

divinities or rendering the figures with 

Andean facial characteristics or in 

traditional Andean costume. In 

addition, each church, convent, 

monastery, and town venerated an effigy 

of its patron or tutelar saint, some of 

them native to Peru. 

3. Furniture 

a. Altarpieces or Retablos— 

Architectonic structures made of stone, 

wood, or other material that are placed 

behind the altar and include attached 

paintings, sculptures, or other religious 

objects. 

b. Reliquaries and Coffins— 

Containers made from wood, glass, or 

metal hold and exhibit sacred objects or 

human remains. 

c. Church Furnishings—Furnishings 

used for liturgical rites include, but are 

not limited to pulpits, tabernacles, 

lecterns, confessionals, pews, choir 

stalls, chancels, baldachins, and 

palanquins. 

4. Liturgical Objects 

a. Objects Used for the Mass— 

Chalices, cibaries, candelabras, vials for 

christening or consecrated oil, 

reliquaries, vessels for wine and water 

(cruets), incense burners (censers), 

patens, monstrances, pelican sculptures, 

and crucifixes. Made out of silver, gold 


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Federal Register / Vol. 88, No. 176 / Wednesday, September 13, 2023 / Rules and Regulations 62705 

or gilded silver, often inlaid with pearls 

or precious stones. Techniques: casting, 

engraving, piercing, repousse ́, filigree. 

b. Fixtures for Sculpted Images— 

Areoles, crowns, scepters, halos, halos 

in the form of rays, and books carried 

by religious scholars and founders of 

religious orders. 

c. Ecclesiastical Vestments—Some 

ecclesiastical vestments were 

commissioned by indigenous 

individuals or communities for the 

celebrations of their patron saint and 

thus are part of the religious legacy of 

a particular town. In such cases, the 

vestment may have the name of the 

donor, town, and/or church as well as 

the date. 

d. Votive Offerings—These are 

representations of miracles or favors 

received from a particular saint. They 

can be made of different materials, 

usually metal or wood, and come in a 

variety of forms according to the type of 

favor received, usually representing 

parts of the human body in reference to 

the organ healed or agricultural 

products in recognition of a good 

harvest or increase in a herd. 

C. Colonial Manuscripts, Documents, 

and Prints 

1. Manuscripts and Documents— 

Original handwritten texts of limited 

circulation dating to the Colonial period 

(A.D. 1532–1821) made primarily on 

paper, parchment, and vellum. These 

include, but are not limited to, notary 

documents (e.g., wills, bill of sales, 

contracts), ecclesiastical materials, and 

documents of the city councils, 

Governorate of New Castile, the 

Governorate of New Toledo, the Vice 

Royalty of Peru, the Real Audiencia and 

Chancery of Lima, or the Council of the 

Indies. These can include single folios, 

collections of related documents bound 

with string, and music scores. 

Documents may contain a seal or ink 

stamp denoting a public or ecclesiastical 

institution. Because many of these 

documents are of an institutional or 

official nature, they may have multiple 

signatures, denoting scribes, witnesses, 

and/or other authorities. Documents are 

generally written in Spanish but may be 

composed in an indigenous language 

such as Quechua or Aymara. 

2. Printed Texts and Images—Printed 

books, pamphlets, maps, and sheets of 

limited circulation made in small 

workshops during the Colonial period 

(A.D. 1532—1821). Prints were 

primarily produced using xylography 

(woodcuts) and chalcography (metal 

plates) on paper. Topics include, but are 

not limited to, government laws and 

ordinances, religious texts (sermons, 

manuals, prayer books, devotional 

sheets, etc.), grammar, and dictionaries. 

Common images include, but are not 

limited to, religious imagery, allegorical 

imagery, portraits, coats of arms, 

celebrations, funerals, tombs, 

architecture, and ornamental elements 

such as flowers, columns, volutes, and 

urns. Texts are generally written in 

Spanish but may be composed in an 

indigenous language such as Quechua 

or Aymara. 

3. Printing Stamps and Plates— 

Stamps and plates include fonts, text, 

and images produced primarily using 

xylography (woodcuts) and 

chalcography (metal plates). 

Inapplicability of Notice and Delayed 

Effective Date 

This amendment involves a foreign 

affairs function of the United States and 

is, therefore, being made without notice 

or public procedure under 5 U.S.C. 

553(a)(1). For the same reason, a 

delayed effective date is not required 

under 5 U.S.C. 553(d)(3). 

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. 

Executive Order 12866 

CBP has determined that this 

document is not a regulation or rule 

subject to the provisions of Executive 

Order 12866 because it pertains to a 

foreign affairs function of the United 

States, as described above, and therefore 

is specifically exempted by section 

3(d)(2) of Executive Order 12866. 

Signing Authority 

This regulation is being issued in 

accordance with 19 CFR 0.1(a)(1) 

pertaining to the Secretary of the 

Treasury’s authority (or that of his/her 

delegate) to approve regulations related 

to customs revenue functions. 

Troy A. Miller, the Senior Official 

Performing the Duties of the 

Commissioner, having reviewed and 

approved this document, has delegated 

the authority to electronically sign this 

document to the Director (or Acting 

Director, if applicable) of the 

Regulations and Disclosure Law 

Division for CBP, for purposes of 

publication in the Federal Register. 

List of Subjects in 19 CFR Part 12 

Cultural property, Customs duties and 

inspection, Imports, Prohibited 

merchandise, and Reporting and 

recordkeeping requirements. 

Amendment to the CBP Regulations 

For the reasons set forth above, part 

12 of title 19 of the Code of Federal 

Regulations (19 CFR part 12) is 

amended as set forth below: 

PART 12—SPECIAL CLASSES OF 

MERCHANDISE 

■ 1. The general authority citation for 

part 12 and the specific authority 

citation for § 12.104g continue to read as 

follows: 

Authority: 5 U.S.C. 301; 19 U.S.C. 66, 

1202 (General Note 3(i), 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 § 12.104g, amend the table in 

paragraph (a) by revising the entry for 

Peru to read as follows: 

§ 12.104g Specific items or categories 

designated by agreements or emergency 

actions. 

(a) * * * 

State party Cultural property Decision No. 

*******

Peru ............................................... Archaeological material of Peru ranging from approximately 12000 B.C. to A.D. 1532, 

and ethnological material of Peru ranging from approximately A.D. 1532 to 1821.

CBP Dec. 23–10 

* * * * * * * 


ddrumheller on DSK120RN23PROD with RULES1
62706 Federal Register / Vol. 88, No. 176 / Wednesday, September 13, 2023 / Rules and Regulations 

* * * * * 

Robert F. Altneu, 

Director, Regulations & Disclosure Law 

Division, Regulations & Rulings, Office of 

Trade, U.S. Customs and Border Protection. 

Approved: 

Thomas C. West, Jr., 

Deputy Assistant Secretary of the Treasury 

for Tax Policy. 

[FR Doc. 2023–19768 Filed 9–12–23; 8:45 am] 

BILLING CODE 9111–14–P 

PENSION BENEFIT GUARANTY 

CORPORATION 

29 CFR Part 4044 

Allocation of Assets in SingleEmployer Plans; Interest Assumptions 

for Valuing Benefits 

AGENCY: Pension Benefit Guaranty 

Corporation. 

ACTION: Final rule. 

SUMMARY: This final rule amends the 

Pension Benefit Guaranty Corporation’s 

regulation on Allocation of Assets in 

Single-Employer Plans to prescribe 

interest assumptions under the asset 

allocation regulation for plans with 

valuation dates in the fourth quarter of 

2023. These interest assumptions are 

used for valuing benefits under 

terminating single-employer plans and 

for other purposes. 

DATES: Effective October 1, 2023. 

FOR FURTHER INFORMATION CONTACT: 

Gregory Katz (katz.gregory@pbgc.gov), 

Attorney, Office of the General Counsel, 

Pension Benefit Guaranty Corporation, 

445 12th Street SW, Washington, DC 

20024–2101, 202–229–3829. If you are 

deaf or hard of hearing, or have a speech 

disability, please dial 7–1–1 to access 

telecommunications relay services. 

SUPPLEMENTARY INFORMATION: PBGC’s 

regulation on Allocation of Assets in 

Single-Employer Plans (29 CFR part 

4044) prescribes actuarial 

assumptions—including interest 

assumptions—for valuing benefits under 

terminating single-employer plans 

covered by title IV of the Employee 

Retirement Income Security Act of 1974 

(ERISA). The interest assumptions in 

the regulation are also published on 

PBGC’s website (https://www.pbgc.gov). 

PBGC uses the interest assumptions in 

appendix B to part 4044 (‘‘Interest Rates 

Used to Value Benefits’’) to determine 

the present value of annuities in an 

involuntary or distress termination of a 

single-employer plan under the asset 

allocation regulation. The assumptions 

are also used to determine the value of 

multiemployer plan benefits and certain 

assets when a plan terminates by mass 

withdrawal in accordance with PBGC’s 

regulation on Duties of Plan Sponsor 

Following Mass Withdrawal (29 CFR 

part 4281). 

The fourth quarter 2023 interest 

assumptions will be 5.06 percent for the 

first 20 years following the valuation 

date and 4.37 percent thereafter. In 

comparison with the interest 

assumptions in effect for the third 

quarter of 2023, these interest 

assumptions represent no change in the 

select period (the period during which 

the select rate (the initial rate) applies), 

a decrease of 0.18 percent in the select 

rate, and a decrease of 0.21 percent in 

the ultimate rate (the final rate). 

Need for Immediate Guidance 

PBGC has determined that notice of, 

and public comment on, this rule are 

impracticable, unnecessary, and 

contrary to the public interest. PBGC 

routinely updates the interest 

assumptions in appendix B of the asset 

allocation regulation each quarter so 

that they are available to value benefits. 

Accordingly, PBGC finds that the public 

interest is best served by issuing this 

rule expeditiously, without an 

opportunity for notice and comment, 

and that good cause exists for making 

the assumptions set forth in this 

amendment effective less than 30 days 

after publication to allow the use of the 

proper assumptions to estimate the 

value of plan benefits for plans with 

valuation dates early in the fourth 

quarter of 2023. 

PBGC has determined that this action 

is not a ‘‘significant regulatory action’’ 

under the criteria set forth in Executive 

Order 12866. 

Because no general notice of proposed 

rulemaking is required for this 

amendment, the Regulatory Flexibility 

Act of 1980 does not apply. See 5 U.S.C. 

601(2). 

List of Subjects in 29 CFR Part 4044 

Employee benefit plans, Pension 

insurance, Pensions. 

In consideration of the foregoing, 29 

CFR part 4044 is amended as follows: 

PART 4044—ALLOCATION OF 

ASSETS IN SINGLE-EMPLOYER 

PLANS 

■ 1. The authority citation for part 4044 

continues to read as follows: 

Authority: 29 U.S.C. 1301(a), 1302(b)(3), 

1341, 1344, 1362. 

■ 2. In appendix B to part 4044, an entry 

for ‘‘October–December 2023’’ is added 

at the end of the table to read as follows: 

Appendix B to Part 4044—Interest 

Rates Used to Value Benefits 

* * * * * 

For valuation dates occurring in the month— 

The values of it are: 

it for t = it for t = it for t = 

*******

October–December 2023 ................................................. 0.0506 1–20 0.0437 >20 N/A N/A 

Issued in Washington, DC. 

Hilary Duke, 

Assistant General Counsel for Regulatory 

Affairs, Pension Benefit Guaranty 

Corporation. 

[FR Doc. 2023–19803 Filed 9–12–23; 8:45 am] 

BILLING CODE 7709–02–P 


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