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Moche civilization flourished on the north coast of Peru from AD 200 to 800. Although the Moche had no writing system, they left a vivid artistic record of their beliefs and activities on intricately painted ceramic vessels, several thousand of which are scattered in museums and private collections throughout the world today. Unfortunately, nearly all were looted by grave robbers so their origin and context are unknown. In recent years, however, through a combination of archaeological excavation and stylistic analysis, it has been possible to identify more than 250 painted vessels from the site of San Jose de Moro. To date, this is the largest sample of Moche art from a single place and time. Thus it provides a unique opportunity to identify a distinct sub-style of Moche ceramics, and to assess its range of artistic and technological variation. Moreover, within the sample it is possible to identify multiple paintings by 18 different artists, thus elucidating the range of subject matter that an artist would paint, as well as the variation in the way he would portray the same scene. By discussing and illustrating more than 200 painted vessels from San Jose de Moro, this volume provides insights about a community of ancient Peruvian potters who shared a distinctive painting style and left a fascinating record of their achievement.
The Moche people who inhabited the north coast of Peru between approximately 100 and 800 AD were perhaps the first ancient Andean society to attain state-level social complexity. Although they had no written language, the Moche created the most elaborate system of iconographic representation of any ancient Peruvian culture. Amazingly realistic figures of humans, animals, and beings with supernatural attributes adorn Moche pottery, metal and wooden objects, textiles, and murals. These actors, which may have represented both living individuals and mythological beings, appear in scenes depicting ritual warfare, human sacrifice, the partaking of human blood, funerary rites, and explicit sexual activities. In this pathfinding book, Steve Bourget raises the analysis of Moche iconography to a new level through an in-depth study of visual representations of rituals involving sex, death, and sacrifice. He begins by drawing connections between the scenes and individuals depicted on Moche pottery and other objects and the archaeological remains of human sacrifice and burial rituals. He then builds a convincing case for Moche iconography recording both actual ritual activities and Moche religious beliefs regarding the worlds of the living, the dead, and the afterlife. Offering a pioneering interpretation of the Moche worldview, Bourget argues that the use of symbolic dualities linking life and death, humans and beings with supernatural attributes, and fertility and social reproduction allowed the Moche to create a complex system of reciprocity between the world of the living and the afterworld. He concludes with an innovative model of how Moche cosmological beliefs played out in the realms of rulership and political authority.
In a special precinct dedicated to ritual sacrifice at Huaca de la Luna on the north coast of Peru, about seventy-five men were killed and dismembered, their remains and body parts then carefully rearranged and left on the ground with numerous offerings. The discovery of this large sacrificial site—one of the most important sites of this type in the Americas—raises fundamental questions. Why was human sacrifice so central to Moche ideology and religion? And why is sacrifice so intimately related to the notions of warfare and capture? In this pioneering book, Steve Bourget marshals all the currently available information from the archaeology and visual culture of Huaca de la Luna as he seeks to understand the centrality of human sacrifice in Moche ideology and, more broadly, the role(s) of violence in the development of social complexity. He begins by providing a fully documented account of the archaeological contexts, demonstrating how closely interrelated these contexts are to the rest of Moche material culture, including its iconography, the regalia of its elite, and its monumental architecture. Bourget then probes the possible meanings of ritual violence and human sacrifice and their intimate connections with concepts of divinity, ancestry, and foreignness. He builds a convincing case that the iconography of ritual violence and the practice of human sacrifice at all the principal Moche ceremonial centers were the main devices used in the establishment and development of the Moche state.
This abundantly illustrated volume is the first to explore the painted pottery of the ancient Greek, Moche, and Maya cultures side by side. Satyrs and sphinxes, violent legumes, and a dancing maize deity figure in the stories painted on the pottery produced by the ancient Greek, Moche, and Maya cultures, respectively. Picture Worlds is the first book to examine the elaborately decorated terracotta vessels of these three distinct civilizations. Although the cultures were separated by space and time, they all employed pottery as a way to tell stories, explain the world, and illustrate core myths and beliefs. Each of these painted pots is a picture world. But why did these communities reach for pottery as a primary method of visual communication? How were the vessels produced and used? In this book, experts offer introductions to the civilizations, exploring these foundational questions and examining the painted imagery. Readers will be rewarded with a better understanding of each of these ancient societies, fascinating insights into their cultural commonalities and differences, and fresh perspectives on image making and storytelling, practices that remain vibrant to this day.
This book offers a new, art-historical interpretation of pre-contact Inca culture and power and includes over sixty color images.
The Cambridge World Prehistory provides a systematic and authoritative examination of the prehistory of every region around the world from the early days of human origins in Africa two million years ago to the beginnings of written history, which in some areas started only two centuries ago. Written by a team of leading international scholars, the volumes include both traditional topics and cutting-edge approaches, such as archaeolinguistics and molecular genetics, and examine the essential questions of human development around the world. The volumes are organised geographically, exploring the evolution of hominins and their expansion from Africa, as well as the formation of states and development in each region of different technologies such as seafaring, metallurgy and food production. The Cambridge World Prehistory reveals a rich and complex history of the world. It will be an invaluable resource for any student or scholar of archaeology and related disciplines looking to research a particular topic, tradition, region or period within prehistory.
This multidisciplinary study analyzes the visual, linguistic, and cultural significance of the imagery used by the Moche in their ceramics and murals.
Moche murals of northern Peru represent one of the great, yet still largely unknown, artistic traditions of the ancient Americas. Created in an era without written scripts, these murals are key to understandings of Moche history, society, and culture. In this first comprehensive study on the subject, Lisa Trever develops an interdisciplinary methodology of “archaeo art history” to examine how ancient histories of art can be written without texts, boldly inverting the typical relationship of art to archaeology. Trever argues that early coastal artistic traditions cannot be reduced uncritically to interpretations based in much later Inca histories of the Andean highlands. Instead, the author seeks the origins of Moche mural art, and its emphasis on figuration, in the deep past of the Pacific coast of South America. Image Encounters shows how formal transformations in Moche mural art, before and after the seventh century, were part of broader changes to the work that images were made to perform at Huacas de Moche, El Brujo, Pañamarca, and elsewhere in an increasingly complex social and political world. In doing so, this book reveals alternative evidentiary foundations for histories of art and visual experience.
Archaeological data from Las Varas, Peru, that establish the importance of ritual in constructing ethnic boundaries Recent popular discourse on nationalism and ethnicity assumes that humans by nature prefer “tribalism,” as if people cannot help but divide themselves along lines of social and ethnic difference. Research from anthropology, history, and archaeology, however, shows that individuals actively construct cultural and social ideologies to fabricate the stereotypes, myths, and beliefs that separate “us” from “them.” Archaeologist Howard Tsai and his team uncovered a thousand-year-old village in northern Peru where rituals were performed to recognize and reinforce ethnic identities. This site—Las Varas—is located near the coast of Peru in a valley leading into the Andes. Excavations revealed a western entrance to Las Varas for those arriving from the coast and an eastern entryway for those coming from the highlands. Rituals were performed at both of these entrances, indicating that the community was open to exchange and interaction, yet at the same time controlled the flow of people and goods through ceremonial protocols. Using these checkpoints and associated rituals, the villagers of Las Varas were able to maintain ethnic differences between themselves and visitors from foreign lands. Las Varas: Ritual and Ethnicity in the Ancient Andes reveals a rare case of finding ethnicity relying solely on archaeological remains. In this monograph, data from the excavation of Las Varas are analyzed within a theoretical framework based on current understandings of ethnicity. Tsai’s method, approach, and inference demonstrate the potential for archaeologists to discover how ethnic identities were constructed in the past, ultimately making us question the supposed naturalness of tribal divisions in human antiquity.
Recipient of the Jo Anne Stolaroff Cotsen Prize The product of ten years of fieldwork at Little Lake Ranch in the Rose Valley, the southern gateway to the Owens Valley, this book presents the results of intensive rock art analyses carried out by the interdisciplinary research team of the UCLA Rock Art Archive. The research attempts to establish a connective web of associations to break down traditional but artificial barriers between rock art and the rest of archaeology. Through time-honored methods of stylistic analysis, the focus is on recent breakthroughs in the analysis of meaning and religion in the context of landscape attributes and ecological opportunities. Regional or ethnic differences suggested by the rock art record has made it possible to create a flexible analytical framework containing previously unpublished or overlooked archaeological excavation and object data. This book describes the occurrence, concentration, distribution, and formal variation of pecked and painted motifs. Scratched, pecked, and painted patterns are analyzed separately. Full-color illustrations throughout enhance the physical appeal of this beautiful book.