The Art and Archaeology of the Moche: An Ancient Andean Society of the Peruvian North Coast

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Although most Moche portrait vessels known today were found in graves often as a result of looting , the wear and tear exhibited by these objects attest to a utilitarian nature. These vessels, which come in a number of different shapes, often with stirrup-shaped spouts attached, were, in fact, containers for liquids such as a chicha , a fermented maize beer. The shape of this particular head suggests its use as a bowl. Unfortunately, objects that are used are often short-lived. It is likely, therefore, that the number of extant Moche portraits represents just a small fraction of those that were produced.

Although evidence is lacking regarding the distribution of Moche portrait vessels, we do have some clues. The use of molds in the creation of these portraits points to mass reproduction, while their small size—generally between six and twelve inches high—indicates portability, hence easy dissemination over distances.

research bibliography on moche stirrup spout vessels | Arqueologia | Museologia

These circumstances suggest that portraits might have been sent out by rulers to vassal states as assertions of sovereignty or traded between elite groups or personages as symbols of alliance. All rights reserved. Legal Policy. Teacher resources and professional development across the curriculum Teacher professional development and classroom resources across the curriculum. About Us Video Series Prof. Region: South America.

Moche, Geography and Culture of

Period: 1 CE - CE. Medium: Ceramics. Title: Moche textile production on the Peruvian north coast: a contextual analysis. Published in: if part or section of a book or monograph The art and archaeology of the Moche : an ancient Andean society of the Peruvian north coast, edited by Steve Bourget and Kimberly L.

Introduction

Jones Austin: University of Texas Press. Computer File. Moche SE Subjects: Document-level OCM identifiers given by the anthropology subject indexers at HRAF Cordage ; Woven and other interworked fabrics ; Textile industries ; Special garments ; Architecture ; General tools ; Occupational specialization ; Labor relations ; Visual arts ; Social relationships and groups ; Household ;. Abstract: Brief abstract written by HRAF anthropologists who have done the subject indexing for the document The iconography of Moche textile production is compared to other archaeological evidence.

A particular scene painted on a ritual vessel, a flaring bowl, shows a specialized weaving workshop with weavers on shaded benches around the sides of a courtyard. They use backstrap looms and multiple spindles with different colored yarns, producing shirts with sleeves and headdresses, probably funerary clothing. Three higher ranking individuals supervise the work, and there are two visitors.

This bowl and other evidence indicate that particular garments were produced by specialists under supervision of religious or political officials. Uceda's investigation of the burials and cached objects thus considers not only the identification of the particular class of individuals associated with such emblematic implements. He further explores their placement and role in a proposed Moche social or ritual framework, in ritual battles and human sacrifice. Between and , two key deposits of human sacrificial victims were excavated by Steve Bourget, and by John Verano and Moises Tufinio within Plazas 3a and 3c, respectively, adjacent to Platform I of Huaca de la Luna.

The Art and Archaeology of the Moche

The excavations, analyses, and forensic studies of these two arenas and their human remains have since spawned increasing interest in and debate on the nature of Moche warfare and human sacrifice. The succeeding two chapters, focusing on Huaca de la Luna, thus appropriately address the nature of Moche human sacrifice.

Venturing a relatively novel form of scientific research, Izumi Shimada and his colleagues Chapter 10 explore the social and political organization of the Moche through a genetic study of the sacrificial victims at Huaca de la Luna. While understandably controversial in its application, this relatively new research technique provides for an increasingly more complex and comprehensive profile of Moche rulers, sacrificial victims, and general population.

References

John Verano follows in Chapter 11 with an updated discussion of his forensic analyses of the sacrificial victims from both Plazas 3a and 3c at Huaca de la Luna. Verano compares the human remains found in the two plazas in order to examine the nature and sequence of sacrificial practices at the site. Based on his inspections of the skeletal material, Verano posits a series of complex Moche ritual practices and suggests their variation across time.

In this contribution, Verano thus continues his recent investigations into and interpretations of the nature of Moche human sacrifice, as well as Moche warfare, based on the relevant forensic data. In the following chapter, Jeffrey Quilter Chapter 12 pursues this perhaps most elusive and actively debated topic in Moche studies—the nature of Moche warfare and militarism—through a comparatively different approach.

http://badgecertify.com/2088-where-to.php Quilter investigates the objects of Moche militarism and the identity of warriors in the iconography and archaeological record, advancing upon previous research by Larco Hoyle. In order to tease out the meaning of Moche warfare and its representation, Quilter adopts a comparative method, referencing similar activities performed or represented by the Japanese samurai, the French and English during the Hundred Years' War, and the painted Attic vases of Ancient Greece, among others.

The controversial topic of Moche warfare and the comparative approach taken provide weight to this particular contribution, which incites discussion of the proper manner for interpreting Moche militarism through the iconographic and archaeological records. Millaire examines the representation of this craft production in Moche iconography, particularly in the example known as the Weaver's Scene, a fineline drawing from a Moche Phase IV florero currently housed in the British Museum.

Based on his analysis, Millaire challenges the notion of large-scale, organized textile production proposed in recent studies. He suggests rather a revision of the methodological approach that led to the identification of such a specialized mode of production in Moche society. Notably at odds, then, in Millaire's discussion are comparative interpretations of the archaeological and iconographic data, and the methodologies taken to align these two fields properly.


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As mentioned above, the tombs discovered at this site in launched the recent age and success of intensive research and investigation. Rather than focus on the identity of the Tomb 3 occupant, Alva directs his attention to the biological indicators of the spider motif, which appears extensively in this funerary assemblage.

His investigation examines both preceding Cupisnique representations and various contemporary Moche forms. It thus contributes to an ever-increasing body of publications exploring the concept of a ritual ecology among the Prehispanic cultures of the Peruvian north coast. Bourget suggests that the social and ritual identity of the main individual buried in the third tomb may have eluded the scrutiny of previous investigators. He proposes that this tomb, in fact, may have been the resting place of an individual depicted in the Sacrifice Ceremony.

Moche culture

The Fourth D. Sibley Conference at the University of Texas at Austin in sought to bring together some of the most distinguished and innovative scholarship on Moche art, arts, and archaeology. The contributions presented in this volume reflect this goal, presenting long-standing methodologies alongside the diversity and innovation of disciplinary approaches and techniques available to Moche scholars. The contributions range from the most detailed and comprehensive evaluations of material and visual culture to the broadest interpretations of Moche social and ritual practice and identity.

Chavin, Nazca, Moche, Huari and Tiwanaku civilizations - World History - Khan Academy

Following the theme of the symposium, most authors readily address and investigate the critical interpretive value at the conjunction of the archaeological and artistic records. The present volume thus offers but one of many past, and no doubt future, compiled bodies of research that are needed to eventually bring to life the Moche art of museum and private collections, as well as the vast array of archaeological contexts slowly but surely being unearthed from the sands of the Peruvian north coast.

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  7. This site was generously funded, in part, by a grant from the Andrew W. Mellon Foundation. Share this book. Latin American Studies. The Art and Archaeology of the Moche. Edited by Steve Bourget and Kimberly L. January Active available. Jones Chapter 1. Iconography Meets Archaeology Elizabeth P. Benson Chapter 2. Moche Masking Traditions Christopher B.