A discovery made in a remote mountain village high in the Peruvian Andes suggests that the ancient Inca used accounting devices made of knotted, colored strings for more than accounting.
The devices, called khipus (pronounced kee-poos), used combinations of knots to represent numbers and were used to inventory stores of corn, beans, and other provisions. Spanish accounts from colonial times claim that Inca khipus also encoded history, biographies, and letters, but researchers have yet to decipher any non-numerical meaning in the chords and knots.
Now a pair of khipus protected by Andean elders since colonial times may offer fresh clues for understanding how more elaborate versions of the devices could have stored and relayed information.
Anthropologist Sabine Hyland studies a khipu board, a colonial-era invention that incorporated earlier Inca technology.
“What we found is a series of complex color combinations between the chords,” says Sabine Hyland, professor of anthropology at St. Andrews University in Scotland and a National Geographic Explorer. “The chords have 14 different colors that allow for 95 unique chord patterns. That number is within the range of symbols in logosyllabic writing systems.”
Hyland theorizes that specific combinations of colored strings and knots may have represented syllables or words. Her analysis of the khipus appears in the journal Current Anthropology.
SECRET MESSAGES
Hyland made her discovery in the Andean village of San Juan de Collata when village elders invited her to study two khipus the community has carefully preserved for generations. Village leaders said the khipus were “narrative epistles about warfare created by local chiefs,” Hyland reports.
The khipus were stored in a wooden box that until recently was kept secret from outsiders. In addition to the khipus, the box contained dozens of letters dating to the 17th and 18th centuries. Most of the documents are official correspondence between village leaders and the Spanish colonial government concerning land rights.
Spanish chroniclers noted that Inca runners carried khipus as letters, and evidence suggests that the Inca composed khipu letters to ensure secrecy during rebellions against the Spanish, according to Hyland.
A khipu from the Andean village of San Juan de Collata may contain information about the village’s history.
“The Collata khipus are the first khipus ever reliably identified as narrative epistles by the descendants of their creators,” Hyland writes in her analysis. She notes that they are larger and more complex than typical accounting versions, and unlike most khipus, which were made of cotton, the Collata khipus were made from the hair and fibers of Andean animals, including vicuna, alpaca, guanaco, llama, deer, and the rodent vizcacha.
Animal fibers accept and retain dyes better than cotton, and so they provided a more suitable medium for khipus that used color as well as knots to store and convey information.
In fact several variables—including color, fiber type, even the direction of the chords’ weave or ply—encode information, villagers told Hyland, so that reading the khipus requires touch as well as sight.
Hyland cites a Spanish chronicler who claimed that khupus made from animal fiber “exhibited a diversity of vivid colors and could record historical narratives with the same ease as European books.”
THE BIG QUESTION
The Collata khipus are believed to date from the mid-18th century, more than 200 years after Spanish colonizers first arrived in 1532. This raises the question whether they are a relatively recent innovation, spurred on by contact with alphabetic writing, or whether they bear a close similarity to earlier narrative khipus.
“These findings are historically very interesting, but time is a big problem,” says Harvard anthropologist Gary Urton. “Whether or not we can take these findings and project them into the past, that remains the big question.”
A few years ago, Urton and Peruvian archaeologist Alejandro Chudiscovered a trove of khipus in what may have been a khipu workshop or possibly a repository of Inca records.
[VIDEO AT NAT GEO WEBSITE]
Deciphering patterns hidden within the devices may eventually become the work of computers, Urton says. He and his Harvard colleagues maintain a digital repository called the Khipu Database that categorizes images, descriptions, and comparisons of more than 500 of the artifacts.
The Inca at their height may have made thousands of khipus, perhaps even hundreds of thousands. But archaeologists suspect that natural deterioration and European colonizers destroyed most of the devices. Fewer than 1,000 are known to exist today.
Hyland plans to return to Peru in July to resume her research. Last summer, on her last day of fieldwork, she met an elderly woman who said she remembered using khipus as a young girl. But before Hyland could ask more questions, the woman darted away to tend to her livestock.
Hyland’s goal is not only to solve a historical mystery, she says, but also to bring to light the “incredible intellectual accomplishments of Native American people.”
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Hey! Anyone around Red Lion, PA!? We’ve got some books to save!
This groundbreaking film that will be the first fully painted animation feature film. Each of the film’s 62,450 frames is an oil painting on canvas, using the same technique as van Gogh, created by a team of 85 painters.
my favorite out of context quotes from my archeology professor so far in no particular order
and floridians are just as human as you and me!
and the moral of the story is that there are no deadly snakes native to alaska
you might know this guy as one of the only archaeologists cool enough to be mentioned by indiana jones
it’s my dream to have my name said by harrison ford
i’m not going to apologize for having this class at 6am because you paid for it and it’s your fault.
we don’t all dress like lara croft. i tried to get it to be a thing on a dig and my colleagues yelled at me.
they were pretty good archaeologists except they were too racist to realize anything they found.
i take back what i said about us not dressing like lara croft because lewis binford here is wearing nothing but short shorts and a cowboy hat. take notes for an academic halloween costume!
archaeologists can be good artists! not me, though. or anyone i know. but if you can draw just know you have options.
sometimes you find dead bodies when you dont really expect it and you just have to deal with it
archaeologists are the only people allowed to get exited when they find corpses.
once i ruined thanksgiving dinner when i told my family i had gotten my degree in archaeology and my uncle commented he liked dinosaurs too
the closest i’ve ever been to a grizzly bear is when i left my glasses in my tent on a dig in alaska, saw a big rock in the distance, and almost screamed
additional quotes
ah yes. archaeologists. or, as i love to call us, pottery analysts
i mean he was kind of a good guy for helping us beat britain but he owned slaves so that really cancelled it out.
archaeology is like cultural anthropology, except after you interview the person you turn around and shoot them in the head.
do not use trees! trees are bad! don’t do it!
usually you find shards, but it’s super exciting when you find a really big shard
it’s basically like a waterpark, except you’re fully clothed and walking through a dark tunnel knee deep in muddy water. so, basically splish splash.
i dont believe in curses but my colleagues and i like to encourage the idea of them so people stop touching our stuff
usually, you would find a knife in a kitchen. or underneath your pillow to really freak out your roommate who is a history nerd and has no idea why you would sleep with a knife under your pillow and he’ll get really scared and freaked out and okay i’m getting off topic
no matter what the other scientists say, archaeology is a real science.
don’t worry, i promise you, and whatever government agency that’s spying on me right now, that i’m not a crazy communist trying to overthrow the government
by now you’ve noticed the big “POP QUIZ” written on the board. there isn’t one, but i wanted to see the looks on your face when you saw it. but you’re all dead inside so it’s not really funny.
everything was fine except the citizens of pompeii just woke up dead the next day
the number one question you should ask when you read old archaeology papers is “how the hell do you know?”
nothing pisses off old men more than young people asking “why” and “prove it” so do that as often as possible
this is incredible! all it takes is a computer the size of this room!
even more from the margins of my notebook!
when in doubt, it’s ritualistic
coprolites are the only shit archaeologists get excited over
i know the only reason you’re not laughing at my hilarious jokes is because it’s early
they called it the garbage project. which is also what people call the projects i work on when we apply for funding.
what you have to realize is that people are fundamentally weird. they do weird stuff now and they have done it thousands of years ago.
things come and go but pottery is forever
i dont know if you all know this but moose are terrifying abominations.
and today’s lesson is about the difference between dirt and soil!
please, please, please do not eat old butter you found buried in a bog.
normally i would say this blackboard is a feature because it isn’t portable and can’t be moved but this is a community college so who knows
one of my biggest fears is that this will get so many notes that someone in the class will see it and show it to the professor and he’ll realize half the notes ive been taking in class are jotting down the weird shit he says
(With my deepest apologies to Shakespeare and Dr. Seuss)
Can I kill my Uncle Claude? Yes, I can, I can, by God! I will kill my Uncle Claude!
Should I kill him in the house? Should I kill him while he’s soused? I could kill him here or there I could kill him anywhere Would I, could I, while he prays? Kill him! Kill him! Wherefore stay? I would not, could not, while he prays!
Not in the house, not when he’s soused, Not with his sister, now his spouse! Not while he prays, not while he feasts, O, incestuous, adulterate beast! I do not like my Uncle Claude, I do not like that bloody bawd!
Say! In the dark? Here in the dark! Would I, could I, in the dark?
Should I kill him in his bed? Should I there strike off his head? Kill him with his nightcap on? Kill him when the churchyards yawn? Should I kill him where he lies? I will kill him, by and by! I do not like my Uncle Claude, I’ll kill him, i’ th’ name of God!
The play! The play! The play’s the thing! The thing wherein I’ll catch the king! No more ‘to be or not to be,’ I will kill him, you will see!
Kill him while he wears his crown Kill him while his guard is down
Kill him with some poisoned wine Kill him with this sword of mine
O, is the point envenomed, too? I’m dead–Horatio, adieu! But tell them, tell them, more or less, Who it was that made this mess!
I did not like my Uncle Claude, I killed him in the name of God! Good friend, report my cause aright– And now, goodnight goodnight goodnight!