ARH 347K

Chavín de Huántar (1200-200 BCE)

• Callejón de Conchucas: eastern side of continental divide
• 3150 masl-Quechua zone: maize agriculture
• Junction of two rivers: WE-Wacheksa River, SN-Mosna (Pukcha) River

• Major excavation by Julio C. Tello (Father of Peruvian Archaeology)
• Other excavations by Rowe, Lumbreras, Burger, and Rick

•Rafael Larco Hoyle: ‘coast to highlands’; from north-central (Nepeña) to north coast (Cupisnique); eventually to highlands (CdH)

• •Julio C. Tello: ‘highlands to coast’; from tropical forest to highlands (CdH); later to coast (ex. Cerro Sechín)

• -"U-shaped" architecture
• -Facing East

• -Addition to South
• -Seem in West face of building

• -Addition to South
• -New axis to South
• -Sunken square plaza
• -Colonnaded portal

-Final fluorescence of monumental center

Lanzón (Chavin)-Phase A...in the old temple

Tello Obelisk (Chavin)-Phase C

Black and White Portal (Chavin)-Phase D (in the new temple)...columns and lintel false entranceway symbolic dualities

Smiling god Ashlar, possibly a central site idol (found in New Temple Plaza-Chavin)

Strombus/Spondylus

Raimondi Stela (Chavin)-Phase EF

• -From curvilinear to angular
• -Central idols with balanced staffs

• -Mother Culture of Ancient Andes
• -Tropical forest origin

• -Central idols: supernatural forms presented frontally
• -Avian images: prominent subjects, guardians of central idols, no feline forms

• Caral (circular plazas begin)
• Kotosh (KRT, central firepits)

• Cerro Sechin (stone facade)
• Sechin Alto (U-shape building)
• Caballo Muerto (feline head)

• Kuntur Wasi (elite tombs)
• Chavin de Huantar (duality, artistic conventions)

• -Strombus galeatus
• -Profile possessing figures (strombus and spondylus)
• -Cactus bearer Ashlar
• -Felines of phase B
• -Non-local ceramic styles (ex: Cupisnique)

• -Circular plaza
• -U shaped architecture
• -Northern ceramics
• -Tropical marine shells
• -Iconography

more linear and lower relief face and nose plugs

• Caiman (primary)
• Spondylus and Strombus shells
• Manioc (root plants, below ground) vs. bottle gourd, chili pepper, peanut (above ground)
• Male (manioc) vs female (peanut)

• -"Kennings": formal substitutions
• -Composite beings

• -Binary opposition
• -Contour rivalry
• -Anatropic design

• New Temple Cornice
• -Concentric circle markings
• -serpent: Anaconda
• -feline: Jaguar

-Figurative device, in Old Norse poetry, where two words are creatively joined together to reference an unrelated topic (Ex: Seal's field = ocean wave = army advancing on battlefront)

-In order to understand the reference, the audience must be part of culture and recognize the symbolic figurative devices

• Serpents = whiskers
• Snake = tail

-Burger argues that the use of kennings intentionally obscures the images from the public view

-It would thus have been the role of initiated priests at the site to explain the images around the sculpted façade.

• Icon: direct representation of a real object
• Index: indirect reference to a real object, action, or idea by way of direct association
• Symbol: indirect reference to a real object, action or idea without direct association

• South vs North
• Female vs Male
• Outstretched avian form vs profile avian form
• Eagle vs Hawk

the ability to see the same image as composed of either two profile forms or one frontal, central image

Ex: outstretched avian form of military macaw

the ability to rotate an image 180^o to produce a new legible image

Ex: Raimondi Stela

• Pacopampa
• -Emphasis on central, sunken plazas
• -Use of internal/subterranean stone-lined canals
• -Three-terrace style architecture
• -Stone columns
• -Circular plaza built into the architecture

• -Sunken rectangular plazas
• -Sunken circular plazas
• -Stone-lined sub-floor canals
• -Dual color scheme in stone architecture

a metal working technique in which a malleable metal is ornamented or shaped by hammering from the reverse side

lacking a lower jaw

• -narigueras (nose ornaments)
• -personal adornments: pins, rings, etc.

• -Feline-Avian-Serpent triad
• -Concentric circle design
• -Staff-bearing figures

• Gold Spoon
• -blowing Strombus trumpet (pututo)
• -avian embossed design on back
• -top knot hairdo
• -dual coloration (silver pututo, gold spoon)

• Chavin-Outstretched Avian forms
• -High relief
• -Thick stirrup and spout
• -Reduced fire wares
• -Often high polish

• South Coast textiles of Chavin
• -Staff god figure with serpent coming out of head and loin cloth
• -Eyes and S-shape design
• -Stylized feline

• North Coast Ecology
• -Doing its own thing
• -Leads to establishment of Moche culture
• -Shift from focus on raptorial birds to the OWL
• -Head the most important element
• -Mouse is another prominent species
• --Comes out in late Cupisnique
• --Multiple rodents and multiple rodents eating means you have an abundance of crops
• --Symbol of fertility in landscape
• -Owl=hunter, Mouse=prey
• -Duality of rodents as destroyer as well as extreme fertility

• Three-Banded Armadillo (Chavin)
• -can roll up to shield themselves against predators
• -Have been found in burial tombs

• Simple color palette: red, white, black
• Stirrup spout bottles
• Largely oxidized wares
• Painted fineline scenes
• Naturalistic modeled figural forms

• Vampire bat
• Eagle Ray

• A=stirrup spout bottle (allows painting on body)
• B=stirrup spout bottle (side view)
• C=stirrup spout jar
• D=spout and handle bottle
• E=florero (flaring bowl-design around inside of rim as well as exterior of bowl itself)
• F=large jar
• G=canchero ("corn popper"-probably used to serve chicha or some other liquid)
• H=bridge and spout bottle (whistling bottles)

• Shape of spout
• Form of lip
• Style of painting
• Types of scenes

• Created a direct relation between stylistic change and changes to the Moche society
• 

• Spider decapitators and supernatural decapitators
• 

• Dancing skeletons, wrinkle face, ritual battle and capture, canchero ("corn popper")
• Fine line painting emerging, first time we see expansion of Moche culture out from the central
• Wrinkle-face reference back to Cupisnique, looking back to the ancient past
• 

• More thematic and narrative, presentation theme/sacrifice ceremony, most prolific phase
• 

• Burial theme, fine line around body, more condensed type of painting
• 

Telling us about local species: deer hunting, snail gathering, etc.

• Domestic activities
• Irrigation practices
• Craft activities

animal species identifications

battle scenes and warfare

structuralist approach: interpreting iconography with help of enthographic and enthohistoric information on the myths and rituals from the Inca and post-Inca periods

artistic canons, visual programs, material design

• Hierarchy of scale
• Gender differentiation
• Perspective and depth
• Status markers
• Pose and actions

• Identification of artists
• Identification of portraits

El Nino, erotic scenes, sacrifice

Phase I

Phase II

Phase III

Phase IV

Phase V

• Animal and plant identifications
• Warfare and battle
• Hunting and daily life
• Mythic and supernatural scenes

•Hocquenghem argues that there are two modes of representations in Moche iconography, those that illustrate the natural realm and those that illustrate the mythic, supernatural realm.

• -Proposed by Christopher B. Donnan, UCLA
• -There are a limited number of scenes and characters
• -Scenes may be represented in entirety or isolated figures illustrated to recall the story

• Presentation theme
• -When we see a bottle and scene that go together

-Figure holding a cup which probably contains blood being presented to a central figure

• -A: central figure receiving cup, usually with elements extending out from his back; Rayed deity
• -B: offering
• -C: female figure (elements extending out from headdress)
• -D: Ulluchu under figure; Ulluchu had anti-coagulant properties
• -E and F: collecting the blood
• -G: sacrificial victims
• -Bat collecting the blood instead of a feline