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Journal of Andean Archaeology, No. 14 (1976), pp. 95-104 Published by: Left Coast Press, Inc. Stable URL: http://www.jstor.org/stable/27977648 . Accessed: 29/03/2012 12:17
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95
an important in the development role of new Archaism played in the Late a and motifs ceramic Intermediate In Ica, Period. styles new ceramic was developed had been imitation of motifs which style by in the same area in the first of the Middle two epochs Horizon. popular The Chimu ceramic of the north been coast has of style suspected long drawing several
for its earlier local Por example, upon styles inspiration. as imitations been Chimu vessels have of Cupisnique recognized source The main of features into incorporated pieces.2 archaistically was no previous Chimu ceramics the Moche of this study style. However, occurrence of archaism been has made. In this article themes will four be examples of Moche Chimu imitation one case the existence of of derivative Chimu vessels sample an earlier and alien by which to the transformed according In of
iconographie definite Moche prototypes it possible to trace makes theme is copied, modified, aesthetic taste of the
later
Mythical
Moche prototype
Pishing
Scene
The most of the force of archaism in Chimu example impressive on no less is a mythical scene than 23 known Chimu depicted scene a fish This shows an anthropomorphic vessels.5 figure catching on the current Based of north coast monster. understanding chronology, were the Chimu vessels in the late and Late Intermediate Period produced ceramics and were made during style one thousand years passed and the imitations.
Late Horizon.4
The prototypes
the
are
of Moche III
original
Period. of the
Approximately pieces
Moche
monster and the shirt of the anthropomorphic figure are striped (fig. The other two vessels do not show these stripes The Chimu (fig. 2).
potters based their imitations these on the striping. of terms greater Apparently, own culture, their in Chimu popularity On the Moche a shirt, a are two Chimu since times
scene rare The mythical in question was relatively in fishing from the enormous of known Moche art art. corpus Only four pieces are Moche show this All III scene. Three of bottles. stirrup spout them are and one is painted. are very smoked blackware four pieces All for a few details. On two of these the fish except similar, pieces,
1).
do not use Moche vessels which were in artisans successful extremely the theme seems to have much achieved than it had during Moche times.
a bird human wears the mythical III prototypes, a belt, on each and a loincloth. bracelet arm, are vertical and his wrinkles prominent lips
96
to
show
and float
Opposing the fishing
knees
of
(or weight)
is
which is hooked
monster monster's
a bracelet. He, too, has crossed the fish The monster is also fangs. Clearly mythical.0 a caudal fish has anal and dorsal and what fin, openings gill fins, to be superorbital of the fishing line Both termi ends cirri. appear in animal nate The fishhook is the outstretched shown as heads. tongue of one of these heads. Direct imitation Each of the pieces. to lar nearly scene. One the of of This these details scene Moche is in tracing the transformation is useful was on several Chimu copied carefully so simi in fig. illustrated is This 3? piece as contem it was incorrectly that identified
whose arm
through his
single bears
human
opponent1 s lower
arm also
jaw.
grasps
these original
Moche
with
Herrera,
All
iconography
can
be
the convention Apparently, in detail minor Other changes are more widely spread apart fin and the of the caudal is modified. The anthropomorphic figure shape are and on his The facial wrinkles left has six fingers hand. enlarged are of the Chimu pieces excellent these curved. copies Despite changes, small details such as the superorbital the Moche model. They reproduce as s tongue the fishhook. on the fish1 s head and an animal1 cirri serving the canons the background not of leaving the Moche Even framing plain, on the body of the vessel on the bottom, scene and having shoulders high are maintained.
are s tically vessels have adornos that monkey and bird diagno The Chimu copies in all do not replicate the Moche Chimu. iconography are missing and the In the Chimu imitations, the bracelets details. so that it runs been has to the belt line parallel fishing straightened rein The crossed of both have been of the mythical human. fangs figures and The anthropomorphic is now shown with two fangs terpreted. figure a toothless lower The fish Prom his monster has four teeth. upper jaw. four and a large teeth back fang. jaw come four was no longer of crossed understood. fangs The side fins of the fish monster occur.
(Lima),
found
in
Larco
Collection
(Trujillo).
Subsequent
Chimu
versions the initial within four were accurate the Chimu subsequent the Moche imitation, artistic tradition. of modification, stages from Moche theme It is each
undergoes possible
Following modification to
less
like
the initial
Chimu
distinguish vessels
imitation.
It
is doubtful
copied
subsequent
directly
Slightly
Four
modified
vessels the shape
Chimu
direct
high seems
imitations.8
The bodies
appear
to
be
direct
of the stirrup
imitations are style
slightly
modified
versions
of
and
spout bottles
lack
the
97
New changes touches hook On one piece are reversed. of the omitted.
are
not
positions
mythical
the fish On two of the bottles, the lower monster. jaw of the fish penetrate human and the mythical monster of the fish seems the mouth to be confusion there concerning are of any sort On some of these fangs vessels, noticeable.
Five
vessels
represent scene
a is
third
(figs.
4"6).
even
These pieces
stage
in
which
are
the
imita sides
quite
varied
in
differently depicted iconography. the same vessel obvious Two of the most changes 5)? (fig. on the of scenes and the framing of background introduction stippling are Chimu decorative both characteristic Equally techniques. bottom; of The number in the mythical scene. have been wrought changes major and they are increased from two to three been has wrinkles facial gross nose are in the mythical human1s found wrinkles Smaller ly exaggerated. as a human nose. The problems to be no longer which recognizable begins re are human figure of the mythical the dentition noted earlier with solved Larco on' one vessel the
illustrated
Herrera, filled
or fangs. The teeth open but without In fig. is conceptually dentition emptye space previously arc at closed is shown as a deep The mouth 4 it is filled by stippling. are across the incised lines the front. In two of the pieces short can be these mouth narrow the vacant band which closes 6); (fig. as remnants of the teeth. explained mouth appears by the Comparable of The tips fin is occur in changes and anal the dorsal in a haphazard distorted the presentation are rounded fins manner. mon of the fish the off and is No back shown in fang
pieces
(fig.
(figs.
4, 6) and on a vessel
5)
by
showing
the
mouth
closed.
On
two
other
ster. caudal
of the fish and the teeth the hook, on the end of the fishing head line, use of The original are hopelessly and confused. combined metaphorical of the the snout as a hook has been an animal1s lost; instead, tongue the lower it does animal is extended. not pass through jaw of Moreover, to is difficult It so that is obscured. the fish, its meaning original extreme of the line. see what happens at the other head to the animal defined of a clearly notable is the omission Another change or float. line The hands of the two figures gripped originally weight the thumb and fingers in a highly line realistic the fishing manner; of modification, third were In this around the line. shown wrapped stage are Patricia with circular the hands shown crudely indentations. Lyon of the marks may be stylized that these has representations suggested and the palm the fingers between shown on earlier pieces depression
(figs.
5, 6) the animal
the figures are In four of the five pieces, fig. 3)? (e.g., on the left, fish on the right). the "reversed" position (man
that for other than the a first time the stirrup spout mythical bottle. scene
shown in It is
on a
appears
98
Stylized A fourth and 8, In 7 more stylized, of to the the stage these, 9 it vessels Moche of and has the transformation in three other also become of known the theme is the seen scene in
figs, even
been to compen eye has expanded a thoroughly the missing for The end result has nonhuman were The legs, which flexed and in pro character. originally file are now bent to show the mean strain of pulling the fishing line, in opposite some The fish has monster lost also directions. inglessly sate
is nearly prototypes of his deprived to his His cheek. ear and headdress.
is pieces, The iconography standardized. The scene bears little identical. or the direct The myth imitations. and ear, A new age nose, headdress,
of its
of its
become body has fish monster is greatly of a necklace. strands in the It floats jaw. the depiction tion of the 5 and 6. In of hook all the and five three
identifying
details,
more
distorted
the superorbital
and
cirri
and teeth.
less
fishlike.
The
The shape
of the two s lower of depic in figs.
and his resemble gill openings enlarged, no longer The fishhook the fish1 reaches This fish1 s mouth. may be a simplification in fig. hook the between 4, or a confusion the of of depiction the vessels, the this of the the
eye
Only
shows
element shown striped are in the reversed figures are bottles. spout stirrup of
completely reminiscent
Highly
occurs on
stylized
scene the in American Chimu art Museum of
Naturaly
are s belt, "human" have been These the mythical details omitted. figure1 the fish1 s gill and the animal head of the fishhook, the curve openings, on the opposite have end of the fishing The mythical human1 s legs line. on the legs. are and the feet These been shown by incision straightened hands of motion. of the figures* Neither eliminate any sense changes the sense of conflict. the fishing further touch removing line, The radical to the loss
History,
New York
(fig.
9)#
Several
more
are have been which described probably changes due, scene in the minds of the of the original meaning part, canons of of Chimu artistic of the Chimu artisans and the ascendency as well as The way in to the usual drift of style. static simplicity, can be broken the the changes into that which sequential stages suggests in rather stylized than Chimu on the the the less Chimu pieces, stylized inter be very It would itself. original this Such how long took. process questions, however, of a detailed Chimu ceramic chronology. publication pieces based Moche vessel were on
know
Mythical
A second of example of a mythical figure appears on two
Battle
Chimu
with Crab
vessel
in the collection
the theme is imitation of a Moche an enormous naturalistic crab. battling a double and bridge Chimu vessels: spout
of Chicago
(fig.
11) and a
99
as number "bottle of the illustrated 53 in the catalogue stirrup spout The main Bias the two Wassermann-San difference between Collection. on the unillustrated is that the crab Chimu vessels is depicted piece on each and with three in the carapace two indentations with side legs
(like
occurs
those in fig.
10).
the II mythical to Phase figure (the and author the crab is aware of
an anthropomorphic shown with It head. always on Moche scene and III the II that blackware appears in low relief. vessels decorated This type of decoration particularly in Moche lends and III itself to Chimu imitation. II Furthermore, the mythical the crab1s it on its claws grasps figure vessels, holding on the Chimu vessels. this is to that stance similar In the later side; Moche the anthropomorphic crab is usually grasped by its hair. pieces, it is apparent Thus of a supernatural the tradition although that, a mythological battle and a giant character crab between persisted subsequent in is also phases Phases it is
shown In
head
they cases
were Moche the Chimu artisans their through deriving times, inspiration or III from a Moche in fig. II feature Another 11 which vessel. sug an archaistic is the taillike basis connected to the hip appendage gests can be interpreted as a confused of the mythical This imitation figure. of the Moche which from the hip and end in an animal breechcloths hang are
(fig.
the
not
10).
basic
greater
similarity
between figs.
1 and 9. remain
10 and
In intact.
both
11,
Mythical
Moche battle Another scene clearcut occurs
Battle
very piece as number 50 in the Wassermann stirrup an anthropomorphized a fish with Collection. vessels, a knife snakelike headdress in one hand and his holds oppo thick, short, a long, in the other nent1 s hair The opponent has head snakelike hand. are dress and grasps the fish1 s wrist. The two figures shown kicking at each other. vigorously illustrated
of a Chimu imitation example on a Chimu double and spout bird head in stylized adornos, This
Painted pieces Y imitate stirrup Moche spout low bottle Late relief
scenes
to in be the
of mythical
archaized
conflict.
was
A painted
a Moche
Chimu vessel
(fig.
13) appears
in the
genre of fig.
Moche
12.10
Valley. of
was collected
made like into The during
the
by Max TJhleat
Horizon.
Site
vessel, divided
identical.
100
Chimu piece. the use of a hand on the stirrup, like that of Finally, the Chimu piece, is a diagnostic feature of the Moche style, although
the Moche hands are usually solid.
13, axis
is very of the
similar. geometric
There motif
are
Moche
alternates
The four of Moche imitated in Chimu ceramics themes examples been have here demonstrate the existence of Chimu archa presented or historical hut define its extent they do not fully ism, significance. The unravelling of this must await the results of basic research problem on Chimu chronology, now being done and iconography A. style by Margaret and others. Hoyt which
Acknowledgements thanks Special my attention relevant for bringing two archaistic A. Hoyt me with H. Rowe for providing photo de Antropolog?a Museo Nacional vessels y I also to thank wish Patricia J. Lyon for many and Vianne for everything. Ramirez-Burger and to Margaret to John from the
vessels graphs
to of
June 4, May 6,
1974 1975
Listed
below
all selected
the
in this
tion
of
this
and Moche prototype starting text, in order of closeness to the original model. are been illustrated accompanied previously When it was possible lished illustrations. with the and location abbreviations number catalog are used: of each specimen
list.
paper.
The listing
is by theme as presented
Chimu Moche
pieces pieces,
studied however,
in
followed by Chimu specimens have which All specimens to the pub the reference by the present to determine, The following is provided.
Nacional Rafael H.
de Larco
Antropolog?a
Robert
Lowie
Herrera, Museum of
y Arqueolog?a, Lima.
Lima. of
Anthropology,
University
Berkeley.
and Ethnology
(fig.
1?
101
Chima direct imitations
Museum of Art, New York, 63.226.2 Metropolitan (fig. 3; Wassermann-San Blas, fig. 55, P. 36; Sawyer, 1966, 1938, no. 81, p. 59)?
Miranda Museo MELH. de Collection, Lima. Arte, Trujillo, Peru.
Chimu slightly modified MELH, three vessels (Larco Hoyle, from right is one of these three). MNAA, 1/452. Chimu highly P. 78). modified
Museum, Vienna Naturhistorisches
1948, p.
51, second
(fig.
4j
Fuhrmann,
1922h,
MRLH,
Chimu stylized Peahody Museum, Harvard University, 7557 (fig. l? Bennett, 1954, fig. 96, p. 85). Present location unknown (fig. 8; Fuhrmann, 1922a, p. 9).
Present
location
unknown
(Wassermann-San
Bias,
1938,
fig.
(fig. 9).
Others four MELH, which were not possible. vessels displayed which in
History,
hut is
Mythical
battle
Approximate
collection,
Trujillo,
Peru
(fig. (fig.
Chimu
imitations
Art Institute of Chicago, 1958.620 San Bias, 1938, fig. 54, P. 35).
Present
53, P. 35).
location
-unknown
(iifessermann-San
Mythical
battle
with anthropomorphic
Moche location
fish
Approximate Present
prototype unknown
50, p.
(Wassermann-San
Blas,
1938,
fig.
33).
102
Chimu
Imitation MRLH.
Geometrie
painted
Approximate Present
ELMA, 16-13806
location
(fig.
unknown
12).
(Wassermann-San
116, p.
Blas,
1938,
fig.
70). 13; Kroeber, 1925, pi. 60f). unknown (Larco Hoyle, I963, fig# l?i). NOTES
Lyon, 2Eowe,
other
^In a note
to the editors
archaized Museum Field
stated,
"Several
the they in the
examples of collections do not necessitate article, Moche mythical ^"This Patterson, 5 of it The this
While Chicago. History, in the analysis modifications any major presented of the importance do serve to underline these pieces Chimu form.11 theme in its resurrected fishing is and based on the with the chronology Margaret is presented A. Hoyt. ambiguous. in Scheele
fishing of Natural
in
and
discussion of
most detail
as a
on the painted
nature
Moche III
headdress
ad beak on the white which is based tapered thickened the body, made between the distinction and horizontally and the tailfeathers, tapered
piece
(fig.
1).
The interpretation
It
is
shown
in
W.I.
at fish
the
California
represented
illustrated
illustrated
in Larco Hoyle,
in Wassermann-San
1948, p.
Blas,
51?
1958,
56, p. 10
36.
as shape, identified
vessel with a See also Larco Hoyle, 1963> fig# 94> for a Moche on our fig. 12 but on a different on the body very similar to that
well as by Larco fig. Hoyle I6I for a vessel as Chimu-Inca very from similar to our fig. I3 and Chicama.
103
BIBLIOGRAPHY
Wendell by Bushnell, Clark
Bennett,
1954
Ancient arts
Simon Geoffrey and
of the Andes.
Schuster,
New York.
distributed
Hext Revised
1963
Peru.
Ancient Peoples
Sutherland edition.
and Places.
Frederick
A. Praeger,
Fuhrmann, 1922a
der
Inka.
Folkwang
Verlag
GMBH, Hagen,
Germany.
1922b
Kroeber,
Pera
Alfred California vol.
II.
Louis
1925
of
Publications Berkeley.
American
Archaeology
Ethnology,
Larco
1948 1963
Lyon,
Hoyle,
Rafael
arqueol?gica
Americana,
del norte
Aires.
Sociedad
Geogr?fica
Buenos
peruanas.
The author,
Patricia
1967 1969
the origins of the lea Innovation through archaism; Pacha 4, 1966, pp. 31-62. style. Nawpa Berkeley. A redefinition
? 7-14. Berkeley.
pottery 6, I968,
of the Pinilla
style.
?awpa Pacha
Rowe,
John
1971
The influence
Conference on Benson, Editor, and Collection,
Howland
of Chavin art
Chavin, pp. 101-^124. for Trastees October
on later
26th and
styles.
27th, Oaks
Dumbarton Oaks
Elizabeth I968, Research Library Washington. P.
Sawyer, 1966
Alan
Peruvian the Nathan ceramics; Museum of Art; distributed Metropolitan Connecticut. Greenwich, Society, Ancient Harry, and Patterson, Thomas Carl
Scheele,
1967
Nawpa Pacha
4,
Wassermann-San 1938
Wassermann-San
Blas.
abbreviations
list
of
specimens
studied.
Plate
XXX
1. Moche III red on white, stirrup spout bottle, Pig. 9 inches Museum of Archaeology and Ethnology. Cambridge (22.9 cm.) high. Pig. 2. Moche III blackware, 25 cm. high. stirrup spout bottle, MNAA, 1/457. Photograph courtesy of John H. Rowe. Chimu blackware, 9 3/8 inches (23.8 Pig. 3. stirrup spout bottle, Museum of Art, Gift of Nathan Cummings, 1963* Metropolitan cm.) high. of Art, negative
specimen no. 63.226.2.
no.
179223.
Photograph
courtesy
of
the
Metropolitan
Museum
Plate
4? Pig. Vienna. Museum, 5? Fig. blackware, Photographed Chimu blackware, Chimu blackware, Chimu
XXXI
bottle. 1922b, bottle, jar, p. Naturhistorisches 78. 21.5 18 cm. cm. high. high. MNAA,
MNAA, JO/61.
Fig. 6.
Photograph
courtesy
of John H. Rowe.
JQ/368.
Photograph
courtesy
Fig.
Lambayeque. Photograph
7.
Chimu blackware,
Peabody
Chimu blackware, 8. Fig. from Fuhrmann, p. 9. 1922a, Chimu blackware, 9. Fig. single-handled of Natural Museum American History, 41.0/5052. provided by Margaret A. Hoyt#
courtesy
Harvard
stirrup
spout bottle,
23.6
75577? University, catalog Harvard University. Museum, face-neck Chiclayo. Photographed jar, cm. high. 18.4 jar, Brawn from a photograph
no.
cm. high,
Plate
10. Fig. cm. high. 22.5 of Christopher Moche Private B. Donnan. III blackware, collection,
XXXIII
stirrup Trujillo, spout spout bottle, Peru. Photograph repaired, courtesy
double spout and bridge bottle, 11. Chimu blackware, Fig. of Chicago, Art Institute 1958.620. high. Photograph courtesy of Chicago. Art Institute 12. Moche V red on white, stirrup spout bottle, 22.7 Fig.
said to come from Huaca Esmeralda near Chan Chan, Moche Valley.
of
16-13806. 13. Chimu red on white, Fig. Site B, Moche Valley. RIMA, 4-11?
the Lowie Museum of no. Anthropology, 15-2245.
18.7 cm. high, stirrup spout bottle, Uhle Collection. Photograph courtesy
University of California, Berkeley,
negative
Key
to
Illustrations.
Pig.
45 6
Mythical fishing XXXI. Highly Plate scene. Chimu Key modified See versions. Illustrations. to
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ _ >,ak?J^K?Kt??^K^^^KI^^?i^^^^Ki^^^^^^^^^B^^e??ff^
Plate
XXXII?
Mythical
fishing
scene.
Pigs.
7, Chimu stylized 8,
versio
^^^^^^
Chimu
version.
9 8 rj
12, 13, Plate XXXIII? 10, 11, mythical "battle with crab; figs. Pigs. 11, 13, Chimu 12, Moche style; figs. 10, Pigs. geometric painted.
style. See Key to Illustrations.