The Pottery Figurines of Pre-Columbian Peru: Volume II : The Figurines of the Central Coast 9781407315232, 9781407344744

Table of contents :
Blank Page
Front Cover
Title Page
Copyright
TABLE OF CONTENTS
LIST OF ABBREVIATIONS
LIST OF FIGURES
LIST OF TABLES
LIST OF PLATES
LIST OF CHRONOLOGICAL CHARTS
LIST OF MAPS
ACKNOWLEDGMENTS
PREFACE TO VOLUME II
THE GEOGRAPHIC AND CHRONOLOGICAL FRAME
CHAPTER 1: THE PRECERAMIC PERIOD ON THE CENTRAL COAST
CHAPTER 2: THE EARLY AND MIDDLE FORMATIVE PERIOD ON THE CENTRAL COAST
CHAPTER 3: THE EPIFORMATIVE (LATE FORMATIVE AND EARLY EIP) ON THE CENTRAL COAST
CHAPTER 4: THE EARLY INTERMEDIATE PERIOD ON THE CENTRAL COAST: THE LIMA CULTURE AND ITS SUCCESSORS: NIEVERIA AND MARANGA
CHAPTER 5: THE EARLY MIDDLE HORIZON ON THE CENTRAL COAST: EARLY MH GROUPS 1 AND 2
CHAPTER 6: THE TRANSITION FROM THE EARLY TO THE LATE MIDDLE HORIZON ON THE CENTRAL COAST: "TRANSITIONAL" EARLY-LATE MH FIGURINES GROUPS 1 AND 2
CHAPTER 7: THE LATE MIDDLE HORIZON ON THE CENTRAL COAST: "INNOVATIVE" FIGURINES GROUPS 1 TO 3
CHAPTER 8: THE LATE MH AND EARLY PART OF THE LIP IN THE NORTHERN SECTOR (NORTE CHICO) OF THE CENTRAL COAST: THE HUAURA FIGURINES AND UNAFFILIATED FIGURINES
CHAPTER 9: FROM THE LATE MIDDLE HORIZON TO THE LATE HORIZON PART I: THE FIGURINES OF THE CHANCAY CULTURE AND UNAFFILIATED (CHANCAY-RELATED) FIGURINES
CHAPTER 10: FROM THE LATE MIDDLE HORIZON TO THE LATE HORIZON PART II: THE FIGURINES OF THE YCHSMA CERAMIC STYLE
CHAPTER 11: CENTRAL COAST FIGURINES OF THE LATE HORIZON – CULTURALLY UNASSIGNED
CHAPTER 12: FIGURINES ON CERAMIC CRADLES, LITTERS AND "PALANQUINS"
CHAPTER 13: CONCLUSIONS
APPENDIX 1
APPENDIX 2
APPENDIX 3
BIBLIOGRAPHY
EXPLANATIONS TO THE TABLES
TABLES
PLATES
CHARTS
MAPS

Citation preview

The Pottery Figurines of Pre-Columbian Peru Volume II

The Figurines of the Central Coast

Alexandra Morgan

BAR International Series 2845 2017

by Published in BAR Publishing, Oxford BAR International Series The Pottery Figurines of Pre-Columbian Peru. Volume II: The Figurines of the Central Coast © Alexandra Morgan from left to right: fi gurine of the Lima st yle; fi gurine of the Supe st yle; early Chancay fi gurine. The Author’s moral rights under the UK Copyright, Designs and Patents Act are hereby expressly asserted. All rights reser ved. No par t of this work may be copied, reproduced, stored, sold, distributed, scanned, saved in any for m of digital for mat or transmitted in any for m digitally, without the written per mission of the Publisher.

ISBN 9781407315232 paperback ISBN 9781407344744 e-format DOI https://doi.org/10.30861/9781407315232 A catalogue record for this book is available from the British Library

BAR titles are available from: BAR Publishing Banbury Rd, Oxford, [email protected] + ( ) + ( ) www.barpublishing.com

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TABLE OF CONTENTS TABLE OF CONTENTS ................................................................................................................ 1 LIST OF ABBREVIATIONS .......................................................................................................... 5 LIST OF FIGURES ....................................................................................................................... 7 LIST OF TABLES ........................................................................................................................ 8 LIST OF PLATES ....................................................................................................................... 10 LIST OF CHRONOLOGICAL CHARTS ...................................................................................... 13 LIST OF MAPS .......................................................................................................................... 13 ACKNOWLEDGMENTS ............................................................................................................. 15 PREFACE .................................................................................................................................. 17 THE GEOGRAPHIC AND CHRONOLOGICAL FRAME .............................................................. 19 CHAPTER 1: THE PRECERAMIC PERIOD ON THE CENTRAL COAST ................................... 21 Introduction ........................................................................................................................ 21 The Figurines of the Preceramic Period ........................................................................... 22

Bandurria ........................................................................................................................................22 El Aspero ........................................................................................................................................23 Rio Seco de León ............................................................................................................................25 El Paraíso ........................................................................................................................................25 Huaca La Florida, Rimac Valley ....................................................................................................26

Synopsis ............................................................................................................................... 26

CHAPTER 2: THE EARLY AND MIDDLE FORMATIVE PERIOD ON THE CENTRAL COAST .. 28 Introduction ........................................................................................................................ 28

The Chronology of the Early Formative (Initial Period) and Middle Formative (Early Horizon Epochs 1 to 6): Explanatory notes to Chronological Chart 1..........................................................29

The Figurines of the Lower and Middle Formative (Initial Period and Early Horizon)............................................................................................................................... 33

Group 1: Figurines from the Ancón shell middens (Sub-groups 1.1 to 1.4) ...................................33 Group 2: Figurines from Central Coast sites other than Ancón ......................................................40 1. Rimac Valley sites (Garagay, Quebrada Canto Grande, Huachipa) .......................................40 2. Lurín Valley sites (Malpaso, Cardal, Manchay Bajo) ............................................................43 3. Curayacu.................................................................................................................................44

Synopsis ............................................................................................................................... 46

CHAPTER 3: THE EPIFORMATIVE (LATE FORMATIVE AND EARLY EIP) ON THE CENTRAL COAST .............................................................................................. 47 Introduction ........................................................................................................................ 47

The Chronology of the Epiformative (Late Formative or Early Horizon Epochs 9, 10 and Early Intermediate Period Epochs 1-3/4): Explanatory notes to Chart 2.1 .....................................48

The Figurines of the Epiformative (Late Formative to Early EIP) ............................... 50 Synopsis ............................................................................................................................... 59

CHAPTER 4: THE EARLY INTERMEDIATE PERIOD ON THE CENTRAL COAST: THE LIMA CULTURE AND ITS SUCCESSORS: NIEVERIA AND MARANGA ........................ 60 Introduction ........................................................................................................................ 60 The Figurines of the Lima Culture ................................................................................... 61

Group 1: Miscellaneous Lima figurines .........................................................................................61 Group 2: Nascoïd figurines found in a Lima context and associated figurines ..............................64

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Group 3: Figurines belonging to or associated with the Nieveria or Maranga pottery styles .........67

Synopsis ............................................................................................................................... 73

CHAPTER 5: THE EARLY MIDDLE HORIZON ON THE CENTRAL COAST: EARLY MH GROUPS 1 AND 2 ................................................................................................ 75 Introduction ........................................................................................................................ 75

Group 1: Figurines possibly originating in the South/Central Sierra ..............................................76 Group 2: Wari-Pachacamac and related figurines ..........................................................................81 Sub-group 2.1: Figurines belonging or related to Wari-Pachacamac .........................................81 Sub-group 2.2: Figurines related to Wari-Pachacamac and to other local traditions..................85 A wooden figurine with ceramic mask from Pachacamac .........................................................89

Synopsis ............................................................................................................................... 89

CHAPTER 6: THE TRANSITION FROM THE EARLY TO THE LATE MIDDLE HORIZON ON THE CENTRAL COAST: "TRANSITIONAL" EARLY-LATE MH FIGURINES GROUPS 1 AND 2 ................................................................................................ 90 Introduction ........................................................................................................................ 90

Group 1: Miscellaneous hybrid figurines .......................................................................................91 Group 2: The Teatino figurines ......................................................................................................93

Synopsis ............................................................................................................................... 97 CHAPTER 7: THE LATE MIDDLE HORIZON ON THE CENTRAL COAST: "INNOVATIVE" FIGURINES GROUPS 1 TO 3 .................................................... 98 Introduction ........................................................................................................................ 98

Group 1: The Supe figurines ...........................................................................................................99 Group 2: Supe-related hybrids ......................................................................................................112 Sub-group 2.1: Supe-Teatino hybrids .......................................................................................112 Sub-group 2.2: Supe-Huaura hybrids .......................................................................................113 A Supe hybrid excavated by Uhle at Pachacamac, Gravefield 1: 1516....................................115 Group 3: Anthropo-zoomorphic figurines ....................................................................................116 Sub-group 3.1: "Cats"...............................................................................................................116 Sub-group 3.2: "Birds"/"Fish" ..................................................................................................117

Synopsis ............................................................................................................................. 119 CHAPTER 8: THE LATE MH AND EARLY PART OF THE LIP IN THE NORTHERN SECTOR (NORTE CHICO) OF THE CENTRAL COAST: THE HUAURA FIGURINES AND UNAFFILIATED FIGURINES ..................................................................... 121 Introduction ...................................................................................................................... 121

The relationship between the Huaura and Chancay figurines .......................................................122

The Huaura Figurines ...................................................................................................... 124

Group 1: Figurines with animal (or mythical?) features and hands placed on the genitals ..........125 Group 2: Standard figurines ..........................................................................................................128 Sub-group 2.1: Standard Huaura figurines with folded arms ...................................................128 Sub-group 2.2: Standard Huaura figurines with two sets of arms: one set folded, one extended ...................................................................................................................................131 Sub-group 2.3: Standard Huaura figurines with extended arms ...............................................131 Group 3: Figurines with elongated head .......................................................................................141 Group 4: Flat, solid figurines (“Slabs”) ........................................................................................143

Synopsis ............................................................................................................................. 148 Late MH and Early LIP Unaffiliated Figurines from the Norte Chico ....................... 148

Group 1: Unaffiliated figurines related to Supe or Huaura ...........................................................149 Group 2: Miscellaneous Late MH-Early LIP unaffiliated figurines .............................................151

CHAPTER 9: FROM THE LATE MIDDLE HORIZON TO THE LATE HORIZON PART I: THE FIGURINES OF THE CHANCAY CULTURE AND UNAFFILIATED (CHANCAY-RELATED) FIGURINES ................................................................ 153 Introduction ...................................................................................................................... 153

Chronological framework of the Chancay culture ........................................................................154

Group 1: The Chancay Cuchimilco................................................................................. 162 2

Sub-group 1.1 (sub-groups 1.1.1-1.1.4): Early Chancay cuchimilcos with folded arms ..............162 Sub-group 1.2 (sub-groups 1.2.2-1.2.4): Early Chancay cuchimilcos with two sets of arms .......172 Sub-group 1.3 (sub-groups 1.3.1-1.3.4): Early Chancay cuchimilcos with extended arms ..........176 Sub-group 1.4: The classic black-on-white cuchimilco ................................................................188 Sub-group 1.4.1: Small black-on-white cuchimilcos (height up to 30 cm) ..............................188 Sub-group 1.4.2: Large black-on-white cuchimilcos (height above 50 cm) .............................199 Sub-group 1.4.3: “Baroque” black-on-white cuchimilcos ........................................................202 Sub-group 1.5: Chancay-Huaura cuchimilcos ..............................................................................205 Sub-group 1.5.1: Early Chancay-Huaura cuchimilcos .............................................................206 Sub-group 1.5.2: Black-on-white Chancay-Huaura cuchimilcos .............................................207 Sub-group 1.5.3: A Chancay-Huaura variant: cuchimilcos of the Jecuan sub-style .................215 Sub-Group 1.6: Chancay cuchimilcos in red or black wares (Phases 3 and 4) .............................217 Sub-group 1.6.1: Cuchimilcos in miscellaneous red wares ......................................................217 Sub-group 1.6.2: Cuchimilcos in black wares (reduced fired or with a black slip) ..................217

Group 2: Chancay Figurines with Elongated Head ...................................................... 225

Sub-group 2.1: Early figurines with elongated head and folded arms ..........................................227 Sub-group 2.2: Early figurines with elongated head and extended arms ......................................227 Sub-group 2.3: Classic black-on-white figurines with elongated head (Phases 3 and 4)..............228 Sub-group 2.4: Chancay-Huaura figurines with elongated head (Jecuan sub-style).....................231 Sub-group 2.5: Figurines with elongated head in red or black ware (Phases 3 and 4) ................232 Sub-group 2.5.1: Figurines with elongated head in red ware ...................................................232 Sub-group 2.5.2: Figurines with elongated head in black or black-slipped ware .....................232 Sub-group 2.6: Special figurines with elongated head..................................................................233

Group 3: The Chancay “Witch” ..................................................................................... 238

Sub-group 3.1: The black-on-white “Witch” ................................................................................238 Sub-group 3.2: The “Witch” in red or black wares.......................................................................238

Group 4: The Chancay “Attendant” .............................................................................. 242 Group 5: Chancay Personage with Helmet .................................................................... 245 Group 6: Small, Crude, Hand-made, Solid Figurines (“Spooks”) ............................... 246 Group 7: The Anthropomorphic Monkey ...................................................................... 250 Chancay Molds ................................................................................................................. 252 Synopsis ............................................................................................................................. 253 Central Coast LIP Unaffiliated Figurines (Probably Chancay-Related) .................... 254 CHAPTER 10: FROM THE LATE MIDDLE HORIZON TO THE LATE HORIZON PART II: THE FIGURINES OF THE YCHSMA CERAMIC STYLE ................................... 257 Introduction ...................................................................................................................... 257

Chancay versus Ychsma ...............................................................................................................261

The Ychsma Figurines ..................................................................................................... 262 Group 1: Early Ychsma Figurines .................................................................................. 263 Group 2: Late Intermediate and Late Horizon Ychsma Figurines ............................. 268

Sub-group 2.1A: Figurines with certain or fairly reliable provenances from the Rimac Valley..269 Sub-group 2.1B: Figurines with undocumented provenances from the Rimac Valley .................276 Sub-group 2.2A: Figurines with certain or fairly reliable provenances from the Lurín Valley ...279 a. Miscellaneous figurines from Pachacamac ...........................................................................279 b. Pachacamac: Figurines from the Plaza de los Pelegrinos .....................................................282 c. Figurines from Pueblo Viejo-Pucará ....................................................................................286 c1: Ychsma-style figurines excavated in Pueblo Viejo-Pucará ............................................286 c2: "Associated" non-Ychsma figurines excavated in Pueblo Viejo-Pucará........................287 d: Figurines from other sites in the Lurín Valley .....................................................................288 Sub-group 2.2B: Figurines with undocumented provenances from the Lurín Valley ...................289

Synopsis ............................................................................................................................. 290 CHAPTER 11: CENTRAL COAST FIGURINES OF THE LATE HORIZON – CULTURALLY UNASSIGNED .................................................................................................. 293 Introduction ...................................................................................................................... 293 Group 1: Late Horizon “Standard” Figurines............................................................... 294

Sub-group 1.1: Large, hand-made, hollow figurines ....................................................................294 Sub-group 1.2: Figurines made of one frontal mold .....................................................................297 3

Group 2: Late Horizon Figurines with Elongated Head............................................... 303 Group 3: Late Horizon “Specials” .................................................................................. 304

Sub-group 3.1: Five very unusual but similar figurines ................................................................304 Sub-group 3.2: Miscellaneous figurines .......................................................................................306

Synopsis ............................................................................................................................. 307 CHAPTER 12: FIGURINES ON CERAMIC CRADLES, LITTERS AND "PALANQUINS" .......... 309 Introduction ...................................................................................................................... 309 Group 1: Figurines on Infant Cradles ............................................................................ 309 Group 2: Figurines on Funerary Litters ........................................................................ 311 Group 3: Figurines on "Palanquins" ............................................................................. 315 CHAPTER 13: CONCLUSIONS ................................................................................................ 317 A. The Function of the Figurines .................................................................................... 317 B. Cultural Processes on the Central Coast as Reflected in the Figurines .................. 321 APPENDIX 1: NOTES ON MUSEUM COLLECTIONS ............................................................... 325 APPENDIX 2: NOTES ON SOME CENTRAL COAST SITES...................................................... 331 APPENDIX 3: GRAVELOTS..................................................................................................... 339 Tables listing the Gravelots ............................................................................................. 341 Plates illustrating the Gravelots ...................................................................................... 357 BIBLIOGRAPHY ...................................................................................................................... 371 TABLES Explanations to the Tables............................................................................................... 391 The Tables ......................................................................................................................... 393

PLATES ................................................................................................................................... 493 CHRONOLOGICAL CHARTS .................................................................................................. 613 MAPS ...................................................................................................................................... 620

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LIST OF ABBREVIATIONS 1. Museums and Collections ACEPB AIC AMNH BCM BCRL BM BMNY CMCT CMN CUNY DNM EMB EMBasel EMS FMC GEM HMB IMJ INC IRAL LACM LMS MAAC MAI MAL MAM MArtL MBL MCAP MEG MHP MLL MM MMCh MN MNAA MNCP MP MPCS MPR MRAHB MRI MSCh MSHua MSPucl MSPuru

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Asociación Enrico Poli Bianchi, Lima. The Art Institute of Chicago, Chicago. American Museum of Natural History, New York. Birmingham City Museum. Museo del Banco Central de Reserva del Perú, Lima. The British Museum (Museum of Mankind), London. The Brooklyn Museum of Art, New York. Cassinelli Massei Collection, Trujillo. Castle Museum, Nottingham. Columbia University, New York. Danish National Museum, Copenhagen. Ethnologisches Museum - Staatliche Museen zu Berlin, Preußischer Kulturbesitz, Berlin. Ethnologisches Museum, Basle. Etnografiska Museet, Stockholm. Field Museum of Natural History, Chicago. Göteborgs Etnografiska Museum Phoebe A. Hearst Museum of Anthropology, University of California, Berkeley. The Israel Museum, Jerusalem Instituto National de Cultura, Trujillo. Instituto Riva Agüero, Pontificia Universidad Católica del Perú, Lima, now Museo de Arqueología Josefina Ramos de Cox. Los Angeles County Museum of Natural History. Linden-Museum, Stuttgart (15). University Museum of Archaeology and Anthropology, Cambridge, England. Museum of the American Indian, New York. Museo Amano, Lima. Museo de America, Madrid. Museo de Arte, Lima. Museo Arqueológico Regional Brüning, Lambayeque. Museo Chileno de Arte Precolombino, Santiago Musée d'Ethnographie, Geneva. Musée de l'Homme, now Musée du Quai Branly, Paris. Museo Arqueológico Rafael Larco Herrera, Lima. The Manchester Museum. Museo Municipal de Chincha. Museo de la Nación, Lima. Museo Nacional de Antropología, Arqueología e Historia del Perú, Lima. Museo Nacional de la Cultura Peruana, Lima. Museo de Pachacamac. Museo Peruano de Ciencias de la Salud, Lima. Museo Pigorini, Rome. Musées Royaux d'Art et d'Histoire, Brussels. Museo Regional de Ica "Maria Reiche Gross Newman". Museo de Sitio, Chan Chan, Huaca "El Dragón". Museo de Sitio Huallamarca-Pan de Azúcar, Lima. Museo de Sitio Huaca Pucclana, Lima. Museo de Sitio Arturo Jimenez Borja, Puruchuco.

This list covers all the museums and collections containing figurines recorded for this Corpus, not only those of the Central Coast sample.

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MSS M/UCLA M/UNSM MUT MVH MVM MVV NGSW PAP PATL PC1G PC1Lon PC1L PC2L PC3L PC4L PC5L PC6L PC7L PC1M PC2M PC1NY PC2NY PMH P-RMO RJC RMV SAC SIW SRB SWMLA TMW UPMP

Museo de Sitio, Templo de Sechín, now Museo Regional de Casma "Max Uhle". Museum of Culture History, UCLA, now UCLA Fowler Museum of Cultural History, Los Angeles. Museo de Arqueología y Antropología de la Universidad Nacional Mayor de San Marcos, Lima. Museo Arqueológico de la Universidad de La Libertad, Trujillo. Museum für Völkerkunde, Hamburg. Staatliches Museum für Völkerkunde, Munich. Museum für Völkerkunde, Vienna. National Geographic Society, Washington D.C. Proyecto Arqueológico Puemape. Proyecto Arqueológico-Taller de Campo “Lomas de Lurín Private Collection 1, Geneva. Private Collection 1, London. Private Collection 1, Lima. Private Collection 2, Lima. Private Collection 3, Lima = now ACEPB above . Private Collection 4, Lima. Private Collection 5, Lima. Private Collection 6, Lima. Private Collection 7, Lima. Private Collection 1, Munich. Private Collection 2, Munich. Private Collection 1, New York. Private Collection 2, New York. Peabody Museum of Archaeology and Ethnology, Harvard University, Cambridge, Mass. Pitt-Rivers Museum, Oxford. Rautenstrauch-Jost Museum, Cologne. Rijksmuseum voor Volkenkunde, Leyden. Collection Santiago Agurto Calvo, Lima. Smithsonian Institution, Dept. of Anthropology, Washington D.C. Collection Segundo Rojas Bartra, Trujillo, Exhibition held at Banco Norperu-Continorte, Trujillo, February 1982. Southwest Museum, Los Angeles. The Textile Museum, Washington D.C. University of Pennsylvania Museum, Philadelphia.

2. Other Abbreviations C (followed by a number) = "Communicated" Figurine CC = Central Coast CH = Central Highlands EH = Early Horizon EIP = Early Intermediate Period F = (Sex column in the Tables) Female Gr. = Group HM = Hand-made LIP = Late Intermediate Period LH = Late Horizon M = (Manufacture column in the Tables) Mold-made M = (Sex column in the Tables) Male MH = Middle Horizon NC = North Coast NH = North Highlands 6

n/a = not applicable n/i = not indicated n/k = not known n/n = no number P (followed by a number) = Published Figurine pf = post-fired (paint, in the Tables) SC = South Coast SCH = South Central Highlands SH = South Highlands Sg. = Sub-group LIST OF FIGURES

Figure 1: Three plaster figurines from Garagay (Ravines and Isbell 1975: figs. 28, 29, 30, 32). Figure 2: Figurine from Curayacu (MNAA, Collección Engel) Figure 3: Two face-neck or figurine fragments from Puruchuco (MSPuru n/n) Figure 4: Face-neck fragment from Puruchuco (MSPuru n/n) Figure 5: Face-neck or figurine fragment from Puruchuco (MSPuru n/n) Figure 6: Figurine fragment from Pancha Paula, Chillón Valley (Private Collection) Figure 7: Nieveria Vessel (Hentze 1960: Abb. 18) Figure 8: Hairstyles of Wari-Pachacamac figurines (Early MH sg. 2.1) Figure 9: Face-neck fragment from Pachacamac (UPMP 26837) Figure 10: Face-neck fragment from Pachacamac (UPMP 26838) Figure 11: Face-neck fragment from Pachacamac (UPMP 27288) Figure 12: Wooden figurine with ceramic mask from Pachacamac (UPMP 29450) Figure 13: Face-neck from Pachacamac (FMC 7387) Figure 14: Teatino vessel from Pachacamac (UPMP 26941) Figure 15: Figurine (P.8554) from Ancón 1-T.661 Figure 16: Gravelot with figurine (Ancón 1-T.88) Figure 17: Gravelot with figurine (Ancón 1-T.688) Figure 18: Supe Figurines Type A and B Figure 19: Cross-sections of the bases of Supe figurines Figure 20: Supe figurines back types Figure 21: Supe-related face neck (MAL 3087) Figure 22: Supe-related face neck (MAL 2573) Figure 23: Supe figurines showing a strong Moche influence Figure 24: Supe figurines with a more elongated body Figure 25: Supe figurines sharing a "different look" Figure 26: Squatter Supe figurines Figure 27: Supe figurines with press-molded decor Figure 28: Moche figurine: 905/Vol.I-Moche sg.4.3 (MBL 1534) Figure 29: Moche figurine: 937/Vol.I-Moche sg.4.3 (MBL 1533) Figure 30: Back of Huaura figurine 608/sg.2.3 (MAL 3374) Figure 31: Huaura figurine 1925/Gr.3 (LACM L2100 A13 63-458) Figure 32: Back of Huaura figurine 2319/Gr.4 (PC6L) Figure 33: Gravelot of Ancón 1- T.407 (Inventario Vol. VI, p.22) Figure 34: Scarified face (Cabieses 1974, Vol. II, p.58) Figure 35: Drawing of cane litter of 1329/Chancay sg.1.2.4 (MVV 5876) Figure 36: Typical Chancay sg.1.4.1A cuchimilco (MEG 14639) Figure 37: Typical Chancay sg.1.4.1B cuchimilco (MHP 32.108.55) Figure 38: Chancay "couple" (Royo 2010:11) Figure 39: X-ray of a fardo from Ancón (FMC183681) Figure 40: Profile of 116/Chancay sg.1.4.2 (MEG no.?) Figure 41: P523 (after Lapiner 1968: no.42) Figure 42: Moche? figurine said to come from Chancay (MAL 2850) 7

Figure 43: Chancay vessel (Private Collection) Figure 44: Hair on Chancay figurine 1740/sg.1.5.2A (PMH 38.9.30/1554) Figure 45: Painted decor on the hand of 581/Chancay sg.1.5.2B (MAL 3269) Figure 46: Lateral projection on face of P541/Chancay sg.1.5.2B (Lavalle and Lang 1982: 40 left) Figure 47: Detail of body-paint: 1236/Chancay sg.1.5.2B (MVM G 3728) Figure 48: Chancay face-neck (Kroeber 1926b: Pl.81 E) Figure 49: Chancay sg. 1.6: Headdress border bands Figure 50: Ear-plug: P551/Chancay sg.1.6.1B (Lavalle and Lang 1978: 95) Figure 51: Late Chancay figurine: 369/sg.1.6.1A (EMB VA 27966) Figure 52: Chancay figurine: 827/sg.1.6.2 (MPSC n/n) Figure 53: Nieveria vessel (MSPuru n/n) Figure 54: Nieveria vessel (MSPuru n/n) Figure 55 a, b: Nieveria vessel (MSPuru n/n) Figure 56: Chancay vessel (Private Collection) Figure 57: Tump-lines on Chancay sg.2.3 figurines Figure 58: Waist-band designs on Chancay sg.2.3 figurines Figure 59: Infants attached to the backs of Chancay sg. 2.3 figurines Figure 60: Profiles of Chancay cuchimilcos (sg.1.4.2) and Chancay Group 2 figurines Figure 61: Part of Chancay vessel (EMB VA 48492) Figure 62: Chancay face-neck (MAL 1935) Figure 63: Back of 63/Chancay Gr.4 (MHP 78.2.218) Figure 64: Chancay vessel (EMB VA 27969) Figure 65: Part of Chancay vessel (EMB n/n) Figure 66: Stone figurine, Chancay culture? (EMB VA 25863) Figure 67: Early Ychsma face-neck from Pachacamac (UPMP 26908) Figure 68: Early Ychsma face-neck from Huallamarca (MSHua no.?) Figure 69: Fragment of Ychsma face-neck (MSPuru n/n) Figure 70: Early Ychsma face-neck (MVM G 755) Figure 71: Figurine from Huallamarca 2216: detail of headdress: (HPA 2.1471) Figure 72: Group of figurines from Armatambo excavated by A. Bandelier Figure 73: Necklaces of Bandelier's Armatambo figurines Figure 74: Headdress decor of Ychsma figurine: 1436 (AMNH B 1177) Figure 75: Face-paint on the nose of 239/LH sg. 1.1B (EMB VA 6392) Figure 76: Headdress with appendages on 244/LH sg.1.1B (EMB VA 18061) Figure 77: Dressed LH sg.1.1A figurine (MVH B 0175) Figure 78: Small figurine attached to the necklace of 166/LH sg. 1.2.B (MVH 638:07) Figure 79: LH face-neck from Pachacamac (UPMP 31750) Figure 80: LH face-neck (MVM G 828) Figure 81: LH face-neck (MVV 5941) Figure 82: Moche figurine with a child on a cradle: 1364/Vol I: Moche Gr.3 (AMNH B 5874) Figure 83: Chimu figurine showing a cradle with cranial deformation device (EMB VA 64034) Figure 84: Moche dignitary on palanquin: 220/Vol.I: Moche sg.6.1 (EMB VA 17592) LIST OF TABLES

Table 1: Figurines of the Preceramic Period Table 2: Figurines of the Lower and Middle Formative (Initial Period and Early Horizon) Table 3: Figurines of the Epiformative (Late Formative and early part of the EIP) Table 4: Figurines belonging to or contemporary with the Lima style (EIP 5-9) Table 5: Early MH Group 1: Figurines possibly originating in the South/Central Sierra Table 6: Early MH Sub-group 2.1: Figurines belonging or related to the Wari-Pachacamac style Table 7: Early MH Sub-group 2.1: Figurines related to Wari-Pachacamac and other local traditions Table 8: "Transitional" Early-Late Middle Horizon Group 1: Miscellaneous Hybrid Figurines Table 9: "Transitional" Early-Late Middle Horizon Group 2: The Teatino Figurines Table 10: Late Middle Horizon Group 1: The Supe Figurines 8

Table 11: Late Middle Horizon Group 2: Supe-related Hybrid Figurines Table 12: Late Middle Horizon Group 3: Anthropo-zoomorphic Figurines Table 13: Huaura Group 1: Figurines with animal (or mythical ?) features and with hands placed on genitals Table 14: Huaura Sub-group 2.1: Standard Figurines with folded arms Table 15: Huaura Sub-group 2.2: Standard Figurines with two sets of arms Table 16: Huaura Sub-group 2.3: Standard Figurines with extended arms Table 17: Huaura Group 3: Figurines with elongated head Table 18: Huaura Group 4: Flat, solid Figurines (“Slabs”) Table 19: Late MH-Early LIP Unaffiliated Figurines related to the Supe, Huaura and Miscellaneous figurines Table 20: Chancay Sub-group 1.1.1: Early Cuchimilcos with Folded Arms – red base 3-colour geometric and related wares Table 21: Chancay Sub-group 1.1.2: Early Cuchimilcos with Folded Arms – white base 3-colour geometric and related wares Table 22: Chancay Sub-group 1.1.3: Early Cuchimilcos with Folded Arms - Black-on-White ware Table 23: Chancay Sub-group 1.1.4: Early Cuchimilcos with Folded Arms - Miscellaneous wares Table 24: Chancay Sub-groups 1.2.1 to 1.2.4: Early Cuchimilcos with Two Sets of Arms Various wares Table 25: Chancay Sub-groups 1.3.1 and 1.3.2: Early Cuchimilcos with Extended Arms – Red and white base 3-colour geometric and related wares Table 26: Chancay Sub-group 1.3.3: Early Cuchimilcos with Extended Arms- Black-on-White Table 27: Chancay Sub-group 1.3.4: Early Cuchimilcos with Extended Arms - Miscellaneous wares Table 28: Chancay Sub-group 1.4.1A: Classic Black-on-White Cuchimilcos: Small Cuchimilcos with Heads Wider than High Table 29: Chancay Sub-group 1.4.1B: Classic Black-on-White Cuchimilcos: Small Cuchimilcos with Heads Higher than Wide Table 30: Chancay Sub-group 1.4.2: Classic Black-on-White Cuchimilcos: Large Cuchimilcos Table 31: Chancay Sub-group 1.4.3: “Baroque” Black-on-White Cuchimilcos Table 32: Chancay Sub-groups 1.5.1 and 1.5.2: Chancay-Huaura Cuchimilcos Table 33: Chancay Sub-group 1.6.1: Cuchimilcos of Phases 3 and 4 in red wares Table 34: Chancay Sub-group 1.6.2: Cuchimilcos of Phases 3 and 4, black or black-slipped wares Table 35: Chancay Sub-groups 2.1 and 2.2: Early Figurines with Elongated Head Table 36: Chancay Sub-group 2.3: Classic Black-on-White Figurines with Elongated Head Table 37: Chancay Sub-group 2.4: Black-on-White Figurines with Elongated Head of the Chancay-Huaura ("Jecuan") sub-style Table 38: Chancay Sub-group 2.5.1: Figurines with Elongated Head in red ware Table 39: Chancay Sub-group 2.5.2: Figurines with Elongated Head, black or black-slipped ware Table 40: Chancay Sub-group 2.6: Special Figurines with Elongated Head Table 41: Chancay Sub-group 3.1: The Black-on-White “Witch” Table 42: Chancay Sub-group 3.2: The Chancay “Witch” in red and black wares Table 43: Chancay Group 4: The Chancay “Attendant” Table 44: Chancay Group 5: Personage with Helmet Table 45: Chancay Group 6: Small, Crude, Hand-made, Solid Figurines ("Spooks") Table 46: Chancay Group 7: The Anthropomorphic Monkey Table 47: Chancay Molds Table 48: Late Intermediate Period Unaffiliated Figurines (probably Chancay-related) Table 49: Late MH-Early LIP Figurines from the Rimac and Lurín Valleys: Ychsma Group 1 Table 50: Ychsma Figurines Sub-group 2.1: LIP and LH Figurines with Provenances from the Rimac Valley Table 51: Ychsma Figurines Sub-group 2.2: LIP and LH Figurines with provenances from the Lurín Valley Table 52: Late Horizon Sub-group 1.1: Large, mostly hand-made, hollow Figurines – Culturally Unassigned Table 53: Late Horizon Sub-group 1.2: Figurines made of one frontal mold - Culturally Unassigned 9

Table 54: Late Horizon Group 2: Figurines with Elongated Head - Culturally Unassigned Table 55: Late Horizon Group 3: Late Horizon "Specials" - Culturally Unassigned Table 56: Figurines on Ceramic Cradles - Funerary Litters – "Palanquins" LIST OF PLATES Plate 1: Plate 2: Plate 3: Plate 4: Plate 5: Plate 6: Plate 7: Plate 8: Plate 9: Plate 10: Plate 11: Plate 12: Plate 13: Plate 14: Plate 15: Plate 16: Plate 17: Plate 18: Plate 19: Plate 20: Plate 21: Plate 22: Plate 23: Plate 24: Plate 25: Plate 26: Plate 27: Plate 28: Plate 29: Plate 30: Plate 31: Plate 32: Plate 33: Plate 34: Plate 35: Plate 36: Plate 37: Plate 38: Plate 39: Plate 40: Plate 41: Plate 42: Plate 43: Plate 44: Plate 45:

Preceramic Figurines from Bandurria and Aspero (1) Preceramic Figurines from Aspero (2), Rio Seco de León and El Paraiso, Chillón V. Formative Figurines from Ancón Sub-Group 1.1 (1) Formative Figurines from Ancón Sub-Groups 1.1 (2) and 1.2 Formative Figurines Groups 1(3) and 2 Figurines of the Epiformative (1) Figurines of the Epiformative (2) Figurines of the Epiformative (3) Figurines of the Epiformative (4) Figurines of the Epiformative (5) Figurines of the Lima Culture Group 1: Miscellaneous Lima Figurines Figurines of the Lima Culture Group 2: Nascoïd and Associated Figurines Figurines of the Lima Culture Group 3: Figurines belonging to or associated with the Nieveria or Maranga Pottery Styles Early Middle Horizon Group 1(1) Early Middle Horizon Group 1(2) and Sub-Group 2.1: Wari-Pachacamac (1) Early Middle Horizon Sub-Group 2.1: Wari-Pachacamac (2) Early Middle Horizon Sub-Group 2.2: Wari-Pachacamac-Related Figurines "Transitional" Early-Late Middle Horizon Group 1 : Miscellaneous Hybrids "Transitional" Early-Late Middle Horizon Group 2: The Teatino Figurines Late Middle Horizon Group 1: The Supe Figurines (1) Late Middle Horizon Group 1: The Supe Figurines (2) Late Middle Horizon Group 1: The Supe Figurines (3) Late Middle Horizon Group 1: The Supe Figurines (4) Late Middle Horizon Group 1: The Supe Figurines (5) Late Middle Horizon Group 1: The Supe Figurines (6) Late Middle Horizon Group 1: The Supe Figurines (7) Late Middle Horizon Group 1: The Supe Figurines (8) Late Middle Horizon Group 1: The Supe Figurines (9) Late Middle Horizon Group 2: Supe-related Hybrids Late Middle Horizon Group 3: Anthropo-zoomorphic Figurines ("Cats", "Birds/Fish") Huaura Group 1: Figurines with animal (or mythical?) features and with hands placed on genitals Huaura Sub-Group 2.1: Standard Figurines with folded arms (1) Huaura Sub-Group 2.1: Standard Figurines with folded arms (2) Huaura Sub-Group 2.1: Standard Figurines with folded arms (3) Huaura Sub-Group 2.1: Standard Figurines with folded arms (4) Huaura Sub-Group 2.1: Standard Figurines with folded arms (5); Huaura Sub-Group 2.2: Standard Figurines with two sets of arms Huaura Sub-Group 2.3: Standard Figurines with extended arms (1) Huaura Sub-Group 2.3: Standard Figurines with extended arms (2) Huaura Sub-Group 2.3: Standard Figurines with extended arms (3) Huaura Sub-Group 2.3: Standard Figurines with extended arms (4) Huaura Group 3: Figurines with elongated head Huaura Group 4: Flat, Solid Figurines ("Slabs") (1) Huaura Group 4: Flat, Solid Figurines ("Slabs") (2) Late MH-Early LIP Unaffiliated Figurines Sub-Group 1: Related to Supe or Huaura (1) Late MH-Early LIP Unaffiliated Figurines Sub-Group 1: Related to Supe or Huaura (2); 10

Sub-Group 2: Late MH-Early LIP Unaffiliated Figurines - Miscellaneous Plate 46: Early Chancay Cuchimilcos with folded arms Sub-group 1.1.1: Red base 3-colour geometric and related wares Plate 47: Early Chancay Cuchimilcos with folded arms Sub-group 1.1.2: White base 3colour geometric and related wares Plate 48: Early Chancay Cuchimilcos with folded arms Sub-group 1.1.3: Black-on-white Plate 49: Early Chancay Cuchimilcos with folded arms Sub-group 1.1.4: Miscellaneous wares Plate 50: Early Chancay Cuchimilcos with two sets of arms Sub-groups 1.2.2: White base 3colour geometric and 1.2.3: Black-on-white ware Plate 51: Early Chancay Cuchimilcos with two sets of arms Sub-group 1.2.4: Miscellaneous wares Plate 52: Early Chancay Cuchimilcos with extended arms Sub-group 1.3.1: Red-base 3-colour geometric; Sub-group 1.3.2: White base 3-colour geometric (1)

Plate 53: Early Chancay Cuchimilcos with extended arms Sub-group 1.3.2: White base 3colour geometric (2) Plate 54: Early Chancay Cuchimilcos with extended arms Sub-group 1.3.3: Black-on-white Plate 55: Early Chancay Cuchimilcos with extended arms Sub-group 1.3.4: Miscellaneous wares Plate 56: Chancay Decorative Designs Plate 57: Chancay Sub-group 1.4.1A: Small Classic Black-on-White Cuchimilcos with heads wider than high (1) Plate 58: Chancay Sub-group 1.4.1A: Small Classic Black-on-White Cuchimilcos with heads wider than high (2) Plate 59: Chancay Sub-group 1.4.1A: Small Classic Black-on-White Cuchimilcos with heads wider than high (3) Plate 60: Chancay Sub-group 1.4.1A: Small Classic Black-on-White Cuchimilcos with heads wider than high (4) Plate 61: Chancay Sub-group 1.4.1B: Small Classic Black-on-White Cuchimilcos with heads higher than wide (1) Plate 62: Chancay Sub-group 1.4.1B: Small Classic Black-on-White Cuchimilcos with heads higher than wide (2) Plate 63: Chancay Sub-group 1.4.1B: Small Classic Black-on-White Cuchimilcos with heads higher than wide (3) Plate 64: Chancay Sub-group 1.4.2: Large Classic Black-on-White Cuchimilcos (1) Plate 65: Chancay Sub-group 1.4.2: Large Classic Black-on-White Cuchimilcos (2) Plate 66: Chancay Sub-group 1.4.2: Large Classic Black-on-White Cuchimilcos (3) Plate 67: Chancay Sub-group 1.4.2: Large Classic Black-on-White Cuchimilcos (4) Plate 68: Chancay Sub-group 1.4.3: "Baroque" Black-on-White Cuchimilcos (1) Plate 69: Chancay Sub-groups 1.4.3:"Baroque" Black-on-White Cuchimilcos (2); 1.5.1: Chancay-Huaura Cuchimilcos (1) Plate 70: Chancay Sub-groups 1.5.1: Early Chancay-Huaura Cuchimilcos (2); 1.5.2A: Typical Chancay-Huaura Cuchimilcos (1) Plate 71: Chancay Sub-group 1.5.2A: Typical Chancay-Huaura Cuchimilcos (2) Plate 72: Chancay Sub-groups 1.5.2A: Typical Chancay-Huaura Cuchimilcos (3); 1.5.2B: Chancay-Huaura Cantores (1) Plate 73: Chancay Sub-group 1.5.2B: Chancay-Huaura Cantores (2) Plate 74: Chancay Sub-groups 1.5.2C: Chancay Cuchimilcos with Chancay-Huaura features; 1.5.3: Cuchimilcos of the Chancay-Huaura related "Jecuan" sub-style Plate 75: Chancay Cuchimilcos of phases 3 and 4 in red wares: Sub-group 1.6.1A: Medium sized, mold-made, mostly hollow figurines (1) Plate 76: Chancay Cuchimilcos of phases 3 and 4 in red wares: Sub-groups 1.6.1A (2); 1.6.1B: Larger figurines (1) Plate 77: Chancay Cuchimilcos of phases 3 and 4 in red wares: Sub-groups 1.6.1B (2); 1.6.1C: Small, solid figurines, made of one mold or hand-made Plate 78: Chancay Cuchimilcos of phases 3 and 4 in black or black-slipped wares: Sub-groups 1.6.2A and 1.6.2B (1) 11

Plate 79: Plate 80: Plate 81: Plate 82: Plate 83: Plate 84: Plate 85: Plate 86: Plate 87: Plate 88: Plate 89: Plate 90: Plate 91: Plate 92: Plate 93: Plate 94: Plate 95: Plate 96: Plate 97: Plate 98: Plate 99: Plate 100: Plate 101: Plate 102: Plate 103: Plate 104: Plate 105: Plate 106: Plate 107: Plate 108: Plate 109: Plate 110: Plate 111: Plate 112: Plate 113: Plate 114:

Chancay Cuchimilcos of phases 3 and 4 in black or black-slipped wares: Sub-groups 1.6.2B (2) and 1.6.2C Early Chancay Figurines with Elongated Head: Sub-group 2.1 with Folded Arms; Sub-group 2.2 with Extended Arms Chancay Sub-group 2.3: Classic Black-on-White Figurines with Elongated Head (1) Chancay Sub-group 2.3: Classic Black-on-White Figurines with Elongated Head (2) Chancay Sub-group 2.3: Classic Black-on-White Figurines with Elongated Head (3) Chancay Sub-group 2.3: Classic Black-on-White Figurines with Elongated Head (4) Chancay Sub-group 2.3: Classic Black-on-White Figurines with Elongated Head (5) Sub-group 2.4: Chancay-Huaura Figurines with Elongated Head (2) Chancay Sub-group 2.4: Chancay-Huaura Figurines with Elongated Head (1); Sub-group 2.5.1: Chancay Figurines with Elongated Head in Red ware Sub-group 2.5.2: Chancay Figurines with Elongated Head in Blackware (1) Chancay Sub-group 2.5.2: Figurines with Elongated Head in Blackware (2); Sub-group 2.6: Special Figurines with Elongated Head Chancay Sub-group 3.1: The Chancay "Witch" – Black-on-White (1) Chancay Sub-group 3.1: The Chancay "Witch" – Black-on-White (2) Chancay Sub-group 3.1: The Chancay "Witch" – Black-on-White (3); Sub-group 3.2.1: The Chancay "Witch" in Red ware (1) Chancay Sub-group 3.2.1 : The Chancay "Witch"in Red ware (2); Sub-group 3.2.2 : The Chancay "Witch"– Black ware; Group 4 : The "Attendant" (1) Chancay Group 4 : The "Attendant" (2) Chancay Group 4 : The "Attendant" (3); Group 5 : Personage with Helmet Chancay Group 6 : Small, crudely made figurines ("Spooks"): Sub-group 6.1a: "Black-on-white"; Sub-group 6.1b: Traces of white slip (1) Chancay Sub-group 6.1b:: Small, crudely made figurines - Traces of white slip (2) Chancay Sub-group 6.2: Small, crudely made figurines - Red ware figurines Sub-group 6.3: Blackware figurines Chancay Group 7 : The Anthropomorphic Monkey Chancay Molds (1) Chancay Molds (2) LIP (and LH?) Unaffiliated Figurines Late MH-Early LIP Figurines from the Rimac and Lurín Valleys: Ychsma Group 1 (1) Ychsma Group 1 (2) Ychsma Sub-Group 2.1A: LIP and LH Figurines with documented provenances from the Rimac Valley (1) Ychsma Sub-Group 2.1A (2) Ychsma Sub-Group 2.1A (3); Ychsma Sub-Group 2.1B : LIP and LH Figurines with undocumented provenances from the Rimac Valley Ychsma Sub-Group 2.2A: LIP and LH Figurines with documented provenances from the Lurín Valley(1): a. Miscellaneous Figurines from Pachacamac (1) Ychsma Sub-Group 2.2A: a.: Miscellaneous Figurines from Pachacamac (2); b. Pachacamac: Figurines from Plaza de los Pelegrinos Ychsma Sub-group 2.2A: c1. Ychsma Figurines from Pueblo Viejo-Pucará Ychsma Sub-group 2.2A: c2. "Associated" non-Ychsma figurines from Pueblo Viejo-Pucará Ychsma Sub-Group 2.2A: d. Figurines from various other sites in the Lurín Valley. Ychsma Sub-Group 2.2B: Figurines with undocumented provenances from the Lurín V. LH Sub-Group 1.1A: Large, hollow figurines with extended arms (1) LH Sub-Group 1.1A: Large, hollow figurines with extended arms (2) LH Sub-Group 1.1B: Large, hollow figurines with folded arms LH Sub-Groups 1.1A – 1.1B: Head Fragments; LH Sub-Group 1.2A: Figurines made of one (frontal) mold, hollow LH Sub-Group 1.2B: Figurines made of one frontal mold only, solid (1) 12

Plate 115: Plate 116: Plate 117: Plate 118: Plate 119: Plate 120:

LH Sub-Group 1.2B: Figurines made of one frontal mold only, solid (2) LH Sub-Group 1.2C: Miniature figurines made of one frontal mold only, solid; LH Group 2: Figurines with elongated head LH Group 3: "Specials"; Ceramic Cradles Funerary Litters (1) Funerary Litters (2); "Palanquins" (1) "Palanquins" (2) LIST OF CHRONOLOGICAL CHARTS

Chart 1: Chart 2.1: Chart 2.2: Chart 3: Chart 4.1: Chart 4.2: Chart 4.3:

Comparative Chronology of the Early and Middle Formative Period Comparative Chronology of the Epiformative Comparative Chronology of the Early Intermediate Period and the Middle Horizon Comparative Chronology of the Late Intermediate Period and the Late Horizon Chronological position of the Figurines: The Formative, the Early Intermediate Period and the Early Middle Horizon Chronological position of the Figurines: The late Middle Horizon and the early part of the Late Intermediate Period Chronological position of the Figurines: The Late Intermediate Period and the Late Horizon LIST OF MAPS

Map 1: Map 2: Map 3: Map 4: Map 5: Map 6:

General Map of Peru General Layout Pativilca and Supe Valleys Huaura and Chancay Valleys Chillón Valley Rimac and Lurín Valleys

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ACKNOWLEDGMENTS This study is dedicated to the memory of my late husband, Hugh Travers Morgan, who not only encouraged me to pursue my archaeological interests throughout our itinerant life, but also took and processed most of the photographs for my work. My heartfelt thanks go to: • Professor Warwick Bray who accepted me as a mature student, supervised my research at every stage and often boosted my sense of purpose when it was flagging; • Stewart Laidlow, on whose photographic expertise, dispensed with unfailing kindness and good humour, I had to rely so often; • Don Green, who helped me in the drawing of the maps for this study. • The Central Research Fund of the University of London for a grant which enabled me to extend my research to the collections in the United States. • The numerous museums and collections which facilitated my access to their material, as well as the photographing of the figurines by my late husband. They are listed above under the abbreviations of their names. The museum curators and employees who assisted us in our research are listed below, followed by the name (in brackets) of the museum where they were working at the time when this research was carried out. • It is difficult to name all the archaeologists and collectors who helped me assemble this corpus—often by providing their own original material—and guided me in the different aspects of my research. I have listed them in alphabetical order1, and hope that I will be forgiven for any involuntary omission: Santiago Agurto Calvo, Patricia Allan (Glasgow Art Gallery and Museum), Alicia Alonso Sagaceta, Walter Alva (MBL), Rosa Amano (MAL), the late Martha Anders, Armando Andrade, the late Ferdinand Anton, Rosalia Avalos de Matos (MNCP), the late George Bankes (MM), José Pablo Baraybar, Monica Barnes (Cornell University), Garth Bawden (PMH), Francisco Bazán, Elisabeth Benson, Joanne Berens (AIC), David Beresford-Jones, Duccio Bonavia, Elisabeth Bonnier (IFEA), Elisabeth Boone (Dumbarton Oakes), Steve Bourget, Christine Brewster-Wray, Carlos Brignardello, Joseph S. Brown (SIW), Staffan Brunius (EMS), Alberto Bueno Mendoza (MP), Richard Burger, Fernando Cabieses (MPCS), Alejandro Camino, Cristóbal Campana (INC, Trujillo), Mercedes Cardenas (IRAL), Elisabeth Carmichael (BM), Patrick Carmichael, Karen Mohr Chávez, Linda Cheetham (P-RMO), Kathryn Cleland, Barbara Conklin (AMNH), Anita Cook, Miguel Cornejo, Mario Curatola (MPR), Michael Czwarno, Laurence Dawson (HMB), Lisa Deleonardis, Mercedes Delgado MNAA), Tom Dillehay, Christopher Donnan, Penelope Dransart, Berete Due (DNM), P. Eeckhout, the late Dieter Eisleb (EMB), Diana Fane (BMNY), Christian Feest (MVV), Jane Feltham, Manuela Fischer (EMB), Isabel Flores, Regulo Franco, Peter Fuchs (MSS), Rosa Fung Pineda (UMSM), Benjamin Guerrero (MNAA), Daniel Guerrero Zevallos (Proyecto Armatambo), Richard Haas (EMB), Wolfgang Haberland (HMV), Mary Harris (MAAC), Christine Hastorf, Pamela Hearne (UPMP), Ulla Holmquist, Anna Maria Hoyle (MSCh), Señor Huapaya (MNAA), Francisco Irriarte Brenner, the late Arturo Jimenez Borja, Federico Kauffmann-Doig, Andrzej Krzanowski, Peter Kvietok (AMNH), Rose Lilien Solecki, (CUNY), M. Lujan Davila, Luis Lumbreras, Patricia Lyon, Alan MacCormick (CMN), Carol Mackey, Maureen Maitland, Cristóbal Makowski (PUC), Joyce Marcus, Colin McEwan (BM), Gordon McEwan, Frank Meddens, Dorothy Menzel, Jean François Millaire, Juan Mogrovejo, Daniel Morales (Seminario de Historia Rural Andina, UMSM), Craig Morris, Sandra Negro, Antonio Nuñez Jimenez, Guiseppe Orefici, Jonathan Palacios, Ponciano Paredes, Jane Peirson Jones (BCM), the late Alejandro Pezzia (MRI), Victor Pimentel (MNAA), José Pinilla (MN), Enrico Poli, Señor Cassinelli, Nancy Porter (Chimu Archive), Shelia and Thomas Pozorski, Heiko Prümers, Jeffrey Quilter, Sonia Quiroz (MN), the late Josefina Ramos de Cox (IRAL), Rogger Ravines, Dan Rifkin, Carlos Rodriguez (BCRL), 1

In order to avoid mistakes I have left out any academic titles 15

Anton Roeckl, Anna Roosevelt (MAI), Hermilio Rosas (MNAA), the late Maria Rostworowski de Diez Canseco, Ann Rowe (TMW), the late John Rowe, Catherine Rozenberg (IFEA), Lorenzo Samaniego, Daniel Sandweiss, Helmut Schindler (MVM), Inge Schjellerup (DNM), Daniel Schoepf (MEG), Axel Schulze-Thulin (LMS), Anne Marie Foote Seeler (EMBasel), Ruth Shady (MNAA), Izumi Shimada, Helaine Silverman, Mireille Simoni-Abbat (MHP), Louis Slavitz, Michael Tellenbach, Teresa Topic, Clide Valladolid (MSHua), G.Van Svieten (MRAHB), Rafael Varrón, John Verano, Anna Verde (MAM), Dwight Wallace, the late Henry Wassén, Ronald Weber (FMC), Steven Wegner, Michael West.

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PREFACE TO VOLUME II 1 Although this is the second volume of three in the Corpus of Peruvian Pottery Figurines, it was in fact the object of my doctoral dissertation and, as such, the first I wrote. After finishing the original version in 1995—and happy that its contents had seen the light of day— I was keen to publish the material I had gathered from the other areas of Peru. This was done by British Archaeological Reports (BAR), who in 2009 brought out Volume I, covering the North Coast (Morgan 2009) and in 2012 Vol. III, covering the South Coast, the Highlands and the Selva (Morgan 2012). BAR agreed that the volume dealing with the Central Coast should—for reasons of geographical consistency—become Volume II. Pre-Columbian pottery figurines from Peru occur in astonishingly large numbers in museum and private collections. However in the published literature they generally occupy a place of "also ran". The reason for this may be that—because of their scarcity in controlled excavations—their potential importance has been undervalued. The main purpose of this work therefore has been to fill this gap in the archaeological record by presenting a Corpus of Peruvian pottery figurines. Under figurines I understand human representations which are not vessels or part of vessels. I did not record animal representations. During the 1980s and early 1990s I recorded a total of 2426 2 figurines, as well as 43 figurine molds and 91 figurine whistles 3 in museums and private collections in Europe, Peru and the United States. Approximately a further 150 specimens—with photographs and related data—were put at my disposal by archaeologists or collectors; a further 110 photocopies of index cards of figurines (with photographs and data) were put at my disposal by the late Santiago Agurto Calvo 4. Nearly 600 specimens come from publications 5. The total number of figurines (and molds) studied and published in this Corpus is 3,323. I have taken relatively little new material on board after finishing the research for my doctoral dissertation, for three reasons: firstly I believe that the sample, as it stands, is sufficiently representative of the various cultures and their phases; secondly I could not presume to publish newly excavated assemblages, such as for instance, the figurines excavated at Caral, before they were published by their excavators; thirdly the mere pressure of time at my age forces me to finish my work sooner rather than later. We are all aware of the tremendous advances in Peruvian archaeology during the last quarter of a century. Although I have tried to keep abreast with the more recent published literature and have updated the backgrounds to the various cultures, I am aware that this is a relatively weak area of this volume in particular. Thus, my chronological charts are often based on publications predating the 1990s. But I have decided to published them here because they were the basis to my dating of the figurines and have not really been superseded. Furthermore they could be useful to scholars who try to make sense of earlier research. The final Corpus published in the British Archaeological Reports (BAR) series consists of the following three volumes: Volume I: The Pottery Figurines of the North Coast of Peru has already appeared (Morgan 2009). It contains 813 figurines (plus three Moche anthropomorphic rattles and 27 small Sican ceramic heads). Volume 2: The Pottery Figurines of the Central Coast of Peru – the present volume – contains 1726 figurines; Volume 3: The Pottery Figurines of the South Coast, the Highlands and the Selva of Peru contains 784 figurines: 536 from the South Coast, 230 from the Sierra and 18 from the Selva. This is a modified version of the Introduction published in Vols. I and III of this work. Around 50 of these were not used, because of insufficient data or doubts about their authenticity. 3 With a few exceptions the whistles are not included in the study. 4 This category of specimens are listed as "C" (for "Communicated") or "SAC" followed by a number. 5 These specimens are listed as "P" followed by a number and the exact reference. 1 2

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As stated above, the main aim of this work has been to record the figurines and to classify them into iconographically and stylistically meaningful groups, thus providing a user-friendly reference source. For each geographic area the figurine groups are presented—as far as possible—in chronological order. Each figurine is listed on a Table, containing all the relevant data (collection, site provenance, sex, measurements, surface colour, manufacturing technique, special features and reference to publications) and is illustrated on a Plate. The analytical part lists the group characteristics and discusses special features, links with other groups, context, geographic distribution and chronology of each group or sub-group 6. Additional data are presented in Appendices. Appendix 1: Gives details about specific museum collections (acquisition of figurines, reliability of given provenances, etc.). Appendix 2: Lists a certain number of important sites, outlining their topography and the varying descriptions or interpretations in the archaeological literature. Appendix 3: Lists and briefly describes all the recorded gravelots containing figurines. In addition my research has also focused on: 1) The origin, evolution, location and interaction in time or space of various figurine types or groups. 2) The function or functions of figurines within different cultural contexts. 3) Any additional or new information that a systematic study of the figurines throws on the overall cultural process of pre-Columbian Peru. These aspects are dwelt on in the present volume, in as much as they are relevant to the figurines of the geographic area studied here. For the function of figurines as a whole, refer to Vol. I: Chapter 10 lists general aspects of the possible function of figurines; Appendix 4 in that volume gives references to idols found in the chroniclers, and covers the whole of Peru 7. I hope that—in spite of its many shortcomings—this Corpus will prove a useful tool for scholars. My advice would be: don't believe what I have written, just look at the pictures and draw your own conclusions!

For the Methodology used for this study, covering the acquisition, analysis and interpretation of data and comparing it with other similar studies, refer to Volume I, Chapter 2. 7 The various chroniclers studied are also listed in the Bibliography of the present volume. 6

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THE GEOGRAPHIC AND CHRONOLOGICAL FRAME THE GEOGRAPHIC FRAME

The wider geographic parameters of this study of Peruvian Pottery Figurines and geocultural concepts such as the "Central Andean Area" and "the Peruvian co-tradition" have been discussed in Volume I (The North Coast), Chapter 2. I also explained there that— although the convergence of ancient cultural borders with present-day political state frontiers are debatable (Silverman 2004:1ff.)—the prevailing cataloguing of the studied material in the various museums and collections logically led me to limit my study area to the territory of present-day Peru. As outlined in Volume I, I have adopted the generally used subdivision of the territory of present-day Peru into the Coastal area (North, Central and South Coast), the Highlands (or Sierra) and the Amazon Basin (or Selva). These broad subdivisions reflect, albeit imperfectly, ecological and cultural realities. If they fail to specifically address marginal areas such as the montaña or the seja de selva, it is mainly because figurines are hardly ever said to come from these areas. The present volume deals with the figurines of the Central Coast of Peru, from the Culebras and Huarmey valleys in the North to the Omas/Asia valley in the South, comprising the Fortaleza, Pativilca, Supe and Huaura valleys, the so-called Norte Chico, as well as the valleys of Chancay, Chillón, Rimac, Lurín and Chilca. Many of these valleys have their own specific archaeological heritage, although for most of its prehistory, the Central Coast appears to be divided into a northern and a southern sector, with the Chillón forming a fluctuating frontier. THE CHRONOLOGICAL FRAME 1

Since the start of my research in the 1980s, the Peruvian archaeological chronology has continued to be the subject of constant controversy. S. and T Pozorski (1987) and Ramón (2005) give us an excellent history of the evolution of this chronology and the many attempts to work out an acceptable framework over the last century. As recently as 2010, P. Kaulicke points out inconsistencies in the terminology: "Se perciben ciertas incongruencias en el uso de los terminos "estilo", "horizonte", "Formativo", "fase", "periodo" (2010: 371). He also writes: "A lo largo de este trabajo se observa una constante: la poca producción de propuestas cronológicas consolidadas y su aceptación acrítica." (2010: 374). Three thematic volumes of the Boletín de Arqueología PUCP (Nos. 10, 11 and 12), have reviewed the problems yet again (see also Makowski et al., 2012: 8ff). In view of these controversies, I might be forgiven if I chose an easy way out by opting for the terminology most commonly used in the Peruvian archaeological literature. In Volume I of this study, dealing with the North Coast, I opted for a hybrid chronological framework, combining Rowe's basically iconographic period scheme (Rowe 1962; Rowe and Menzel, Eds. 1967: Chronological Table; Menzel 1964) with one based on cultural processes proposed by Lumbreras (1974). Although Rowe's and Menzel's chronologies have many shortcomings and are the object of much discussion (see above), their epochs and phases are still used as a convenient tool. As for Lumbreras' construct, it too is constantly discussed and yet constantly used in the literature 2. More recently Kaulicke (1994a: 503-576) has actually sub-divided the Formative into five Periods (Early, Middle, Late, Final and Epiformative). Of these, the Epiformative has turned out to be a very useful element in my chronology, as it covers a period (and pottery styles) which on and off has been called the "White-on-Red Horizon" (Willey 1948;

This section is partly a combination of the relevant sections in Vols. I: pp. 24-25 and III: pp. 17-18. Jiménez (2009), in her Cuadro cronológico comparativo shows up discrepancies of several hundred years between the various dating systems. 1 2

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Lumbreras 1974:81) and which—true to its Horizon style status—is represented by closely related figurines in many areas of Peru. I have adopted the following chronological framework – with its fine tuning, including the explanations to the Chronological Charts, discussed in the relevant chapters: • The Preceramic Period • The Formative Period, subdivided into: The Lower or Early Formative, also known as Initial Period (IP) The Middle Formative, incorporating the Early Horizon (EH) The Epiformative, straddling Lumbreras's Upper Formative and the beginning of the Early Intermediate Period • The Early Intermediate Period (EIP) • The Middle Horizon (MH) • The Late Intermediate Period (LIP) • The Late Horizon or Inca Period (LH) Within these Periods, the matching of epochs with the absolute dates of the Ica master sequence (see above) is rarely adhered to. In many cases I follow available local chronologies when the subdivision of periods into epochs is replaced by the currently used "phases" of a given culture (e.g. Chancay). Where one or more chronological sequences are available for a given culture, the parameters are discussed and the phases correlated at the beginning of the relevant chapter. As far as absolute dates are concerned, when they appear in a chronological chart, they are only meant to be used as guidelines; where available, C14 dates are quoted as found in the relevant publication; when corrected dates are quoted, this is specified.

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CHAPTER 1

THE PRECERAMIC PERIOD ON THE CENTRAL COAST

INTRODUCTION The term Preceramic is used in Peruvian chronology to cover the period between the first traces of human activity in a given area and the appearance of pottery. On the Central Coast, this would mean a time span of roughly 10.000 years, from about 12.000 to about 1.800 BC. The latter part of this period—the only one that concerns us here—has been called the Cotton Preceramic by Engel (1957) 1, because—along with the absence of ceramics—the widespread introduction of this cultigen in preceramic sites provided a significant cultural and chronological sub-division of the period. It would seem that by this stage sites on the coast and even in the highlands were occupied permanently and agriculture became an alternative subsistence source to the well-documented early exploitation of marine resources (Moseley 1975, Osborn 1977, Wilson 1981, Raymond 1981). The generally accepted date for the beginning of the Cotton Preceramic, now more commonly referred to as the Late Archaic, is around 3000 BC, lasting till about 1500 BC. Since the completion of the first version of this study in 1994, the discovery of a number of large ceremonial sites in the so-called Norte Chico 2, and especially in the valleys of Pativilca, Supe, Fortaleza, and Huaura have completely changed not only the ideas about the processes which lead from the first permanent settlements to the relatively complex societies, undertaking large-scale ceremonial architecture on the Central Coast of Peru, but also the whole concept of the emergence of complex societies in the world at large. However, there are great differences in the interpretation of the triggers, mechanisms and modalities of this "emergence". One concept sees it as producing large hierarchised and ultimately centralised polities (Shady 2006b), another envisages smaller, more loosely linked autonomous entities (Haas and Creamer 2006), though both interpretations insist on a certain degree of centralisation, allowing the building of large ceremonial sites. Scholars agree that these developments were based on various technological improvements—such as the fabrication of cotton fishing nets and irrigation canals—which in turn led to important economic growth, through a widening network of exchanges, mainly between the marine resources of the coast and the agricultural produce—first and foremost the cotton—of the valleys. At the same time the large valley settlements also opened access to sustained long-distance contacts with other coastal areas and diverse ecological zones in the Sierra and the Selva. But Vega-Centeño (2006) suggests a possibly different model, of small communities, each building their own ceremonial center. He rightly warns that, until the various sites are excavated in depth, the very important gradual changes spanning the whole period of the Late Archaic are being overlooked. One aspect of the new discoveries is that it confirms the ceremonial—and at least partly religious nature of the architecture. As more and more monumental architecture from the Preceramic Late Archaic comes to light on the Coast as well as in the in the Highlands, many This period is also known as the Late Preceramic, or the Late or Upper Archaic (Haas and Creamer 2004: 35). 2 See – amongst others - Craemer et al. 2007; Feldman 1980; Shady 2006a, 2006b, 2014; Vega-Centeno 2006; Chu 2006; Haas and Craemer 2006. 1

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recurring architectural elements appear to represent different manifestations of one or several related cosmic-religious traditions (Donnan, Editor, 1985). The presence of figurines could be an additional element in tracing and linking such traditions. Ultimately the debate will have to be resolved by the growing sophistication of sampling and interpretative techniques of the ever larger archaeological record. The indirect significance of the problem to this study resides in assessing the cosmic concepts which first lead to reproducing the human form in clay. Figurines made of unfired clay first appear towards the end of the Cotton Preceramic and are generally linked with large ceremonial structures. Although the phenomenon is particularly striking in the impressive preceramic sites of the Norte Chico, the relationship between these sites and sites outside the immediate area—both in adjacent valley sites like El Paraiso, Chillón, and Highland sites like Kotosh or La Galgada—has not yet been elucidated, either chronologically or directionally. Twenty-five figurines or figurine fragments, made of unfired clay, had been retrieved from preceramic archaeological strata on the Central Coast of Peru at the time of writing (1994). Since then numerous additional figurines have been retrieved from the sites centred around Caral in the Supe Valley: they have only been partially published and are not included here (Shady et al., 2009). THE FIGURINES OF THE PRECERAMIC PERIOD Table 1 Plates 1, 2 The figurines do not constitute a group and are listed and examined under the sites where they were found. BANDURRIA

Sample: 1 figurine (examined) Measurements: originally 17.2 cm by 5. 2 cm. CHARACTERISTICS

Standing figurine with a small head (less than one fifth of total height) in the shape of a flattened sphere, now separate from the body; elongated incisions mark the eyes and a modelled nose protrudes above the crown of the head. Originally modelled hanks of hair (?), now broken off, were hanging down on the chest (visible on Fung 1988: Fig. 3.2 and Pl. 1). The elongated body has square shoulders and straight sides; in profile the outline is slightly convex; the arms, modelled along the sides, point inwards; hands are indicated by incised fingers. The legs are separated by an incision in their upper part and completely separated lower down; feet are shown by incised toes. The genitals, breasts and an umbilicus are not indicated. Manufacture : The figurine is hand-made, solid, unfired. The colour is greyish white. Compared to an early photograph (Fung 1988: fig. 3.2) the specimen has now greatly deteriorated: the nose, hanks of hair and arms are missing. DISCUSSION

Geographic location Bandurria is one of a number of preceramic sites located at Playa Chica, a beach 12 km south of the Huaura valley. It was originally listed as a "cemetery" and refuse deposit (Cárdenas 1977-78:113-114), but more recent investigations have outlined two distinct sectors, a domestic one (where the figurine was found) and a ceremonial one, the latter counting no less than 12 structures, of which some at least are terraced mounds 1. R. Fung (1990: 96-97) suggests that—like at Rio Seco de León (see below)—the pyramids, originally surmounted by large monoliths disposed in a certain order, functioned as sun-dials. The relatively elaborate burial customs (see below) may indicate a sacred aspect of the whole site; Quilter (1985:297) speaks of a "ceremonial setting" at Bandurria. 1

These have been explored in recent years (Chu 2006). 22

The figurine was found by Rosa Fung in 1973, after the waters of the San Felipe irrigation canal had cut into a midden cum burial site (personal communication). Context According to R. Fung (personal communication): "the figurine was found alongside a small basket. I presume that the figurine had been deposited inside the basket. I conclude that it was part of a funerary offering, but there are no precise indications, as the waters had carried everything away...We certainly did not salvage a burial associated with the figurine". Amongst the finds of Fung's excavation was also a stone "dressed" in a textile, associated with a child burial, and twined textiles, basket-work, etc. (Fung 1988: 76-77). Feldman (1980:156) mentions that Fung recovered a large number of fardos at the site; some of these did not contain bodies, only "matting, sticks, and other plant material". Feldman suggests that the bundles may have been "symbolic representations of a burial". Chronology According to Fung (1988: 77) the figurine was found at the base of the earlier of two preceramic deposits, dating to 4,530±80 BP, roughly speaking 2,600 BC. EL ASPERO

Sample: 17 Figurine fragments (examined 3) 1 Measurements: see Table 1: the measurements were calculated from the photographs. There is no complete figurine; the fragments vary in height between 2.0 and 12.0 cm. Feldman (1991: 7) estimates that the complete figurines would have measured between 5.0 and 14.0 cm. CHARACTERISTICS

Head: Only preserved on 985, P420, P426, 986, in the shape of a flattened cylinder (more conical on 986). The eyes are rendered by narrow slits, the mouth by a shorter, wider one. The nose is a raised triangular ridge, sometimes with small slits for the nostrils. Ears (P426) are rounded, with a central punctation. The head features clay appendages, representing a hairstyle or head-dress. The neck is shown by an indentation. Body: Cylindrical, slightly wider than the head. On 984 it is clearly divided into two sections at waist level, the lower section being wider. Arms are appliquéd, either folded above the waist (P423, 984, P430), or extended downwards (985, P422, 986) or forwards (P418); traces of arms, now broken off are visible on P419, P421, P427, P429. Incised fingers on P425, 984, 986, P430. Most of the figurines appear to be sitting (albeit at an awkward angle), with legs stretched out; 984 has short tubular legs folded towards the middle of the body; only 986 is standing on separate legs, with incised toes. P419, P421, P431 have an enlarged abdomen, perhaps indicating pregnancy. Genitals are not shown, though breasts or their area of attachment are visible on nine figurines. Feldman uses this feature to determine the sex (see Discussion). The back is mostly featureless, except on 985, 984 which show unidentifiable appliquéd features. Clothing: 985 and P426 wear a turban-like head-dress. 984 wears a "skirt", bulging out at the waist. A head-dress with hanging lateral appendages (or hair with hanks?) may have been originally represented on 984 (see reconstruction), but this is not verifiable on the figurine in its present state. Remnants of necklaces made of square beads, some coloured red, are worn by 985?, P423, 984; the arm fragment (P425) features a similar bracelet. Manufacture: The figurines are hand-made, solid, unfired, with a greyish-white surface colour. One specimen is entirely painted red. DISCUSSION

Feldman (1991) assumes that twelve figurines represent females, four of them possibly Only three figurine fragments were available for recording at the INC, Trujillo. Feldman described five figurines in 1980 and the rest in 1991 (see Table 1).

1

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pregnant, and two males 1. This assessment is based solely on the presence or absence of breasts (or traces of appliquéd breasts). But we know from many later examples that breasts or nipples often occur on males. The feature which Feldman sees as an (unusually large!) breast on one of his females (985), could be the fragment of an appliquéd arm or an appendage of the headdress. On the other hand 984, with its elaborate dress, and 986, with its clearly incised vulva, are seen as male because they lack breasts. Feldman clearly does not take into account the representation of the vulva by an incised slit. Sometimes this feature can appear as a mere dividing line of the legs, but in the case of 986—one of Feldman’s "males"—I definitely recorded this feature, when I examined the actual figurine, as female genitals; an incised vulva can also be seen on P419 and P431, correctly identified as females. Links with other groups One figurine (P422) was entirely coloured red (Feldman 1980: xiv). This is the earliest instance, recorded in Peru, of red pigment being used in what was probably a ritual context. Later the feature appears again and again, mainly on the faces of figurines. It is common in a funerary context, not only in Peru, but worldwide. The use of red pigment in relation to a preceramic offering is also recorded at El Paraíso (Quilter l985:284). Geographic location Aspero is a large preceramic site, ca 2 km south of Puerto Supe. It consists of an extensive midden (over 13 hectares), dotted with a number of architectural features such as mounds and terraces. The site is now seen as the only sea-side settlement amongst the 20 sites of the "Caral civilisation" (Shady 2006b: Fig. 3 and 68). Feldman excavated the figurines at Mound 2, named Huaca de los Idolos after them. The exact location of the cache, containing 16 fragments, was a small "dead-end" room (Room 2) created by dividing a larger room (Room 1). The figurines were recovered from a space, 15.0 cm in height, separating the last two floors (2 and 1) of the building sequence, a result of frequent ceremonial rebuilding (Feldman 1980:74-75). A further figurine, a large male (986), contemporary of the others, was found "just outside the east wall of the cache room" (Feldman 1980:153). Context "Instead of the cane bagged quarried fill used in the rest of the rooms, the space...was filled with an assortment of matting, baskets, food and plant material and unbaked human figures...The material...was not dumped as in a "storage closet" or rubbish heap; it was carefully placed, forming a cache of objects of unusual significance" (Feldman 1980:74-75). Feldman assumes, probably correctly, that all the figurines were made by the same artist (1980:151). The fact that none of the figurines were complete may also have a ritual significance (Burger 2007:244). Considering that the contents of the burial bundles without bodies found at Bandurria (see above) were very similar to the material associated with the figurines at Aspero, Feldman (1980:156) suggests that they might be dedicatory offerings, in this case related to a rebuilding of the huaca. Two ceremonial burials, possibly also dedicatory, at the nearby Huaca de los Sacrificios would confirm this interpretation (1980:114-117). The lay-out of Huaca de los Idolos also suggests a ceremonial use of this edifice (1980:192). Chronology A radiocarbon date from the figurine cache gives 4900±160 BP (corrected). This date has been rejected as too early, because lower levels yielded later dates. However there is a notable consistency between seven dates collected at Huacas de los Idolos and de los Sacrificios spanning a period between 3055 BC and 2533 BC (corrected) (Feldman 1980:246, 251).

1

Feldman's gender attributions are given on Table 1 – even though they are open to discussion.

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RIO SECO DE LEÓN

Sample: 1 figurine, 4 figurine fragments (examined none). Measurements: see Table 1: the measurements were calculated from the photographs. The only complete figurine measures 6 cm, but three of the other fragments indicate larger specimens. CHARACTERISTICS

Crude specimens, cylindrical or flattened in shape. One complete figurine (P435) has a modelled nose and incised features, the neck is shown by a groove, but the cylindrical body is featureless. A head (P436) also has incised features. Two body fragments (P432, P433) have an incision separating the legs. The sex is not indicated and there is no clothing (Wendt 1964: 246). Manufacture: The unfired clay appears to have a rough (brittle?) surface; texture and colour are not described. DISCUSSION

Geographic location The dry bed of the Rio Seco de León reaches the Pacific north of the Chancay Valley. The preceramic site covers nearly 12 hectares with at least nine middens, of which six (nos. 4-9) are located 800 to 1000 metres inland from the river mouth. The site features some public architecture, with artificial mounds containing platforms and stone rooms, as well as precarious domestic dwellings. It must have housed a large population, mainly subsisting on marine resources, since it is located at a considerable distance from the Chancay valley. It contained up to 3000 burials (Wendt 1964:226f, 242f; Patterson and Moseley 1968:118). The figurines are not listed as grave-goods, but appear with the other artefacts recovered at Mound 6 by Wendt (1964: 246) 1. Context There are no specific data about any architectural remains in Mound 6, which appears to have been mainly a midden, nor about the precise location and context of the figurines. Chronology Engel gives two radiocarbon dates for the preceramic site: 3800±100 BP and 3740±100 BP=1843 BC and 1783 BC (Engel 1957: 143 and 1963b:123). Feldman (1980:154) gives the slightly earlier dates of 4300 to 4200 BP (2350 to 2250 BC). Fung (1990: 96) sees the site as even earlier, e.g. contemporary with Bandurria. In any case there is no stated association between the dates and the figurines: the dates only provide an approximate indication of the age of the figurines. EL PARAÍSO

Sample: Head fragment of one figurine 2 (not examined). CHARACTERISTICS

Elaborate head, with incised features and an appliquéd hairstyle or bonnet, perhaps also a punctated necklace. The following details were provided by Jeffrey Quilter (personal communication): The headline is rounded, with a clay fillet folded over the top and sides, indicating a hairstyle or headdress. The nose is a mere “crinkle”, the eyes, nostrils and mouth are incised. Two rows of punctations feature at neck level. The profile is flattened, the back plain.

These seem to be the same figurines mentioned by Engel as found by him and his team at Rio Seco (Engel 1966a:68). However Wendt publishes them as artefacts from an independent excavation carried out by himself at Mound 6 in 1961-62. 2 Feldman (1980:154) mentions two figurine fragments from Paraiso. Perhaps he includes a stone concretion qualified as "idol" by Engel (1966a:Pl.V,2). 1

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Manufacture: According to Engel (1966a: Pl.VI,1) the figurine is unfired, but J. Quilter, (personal communication), is not absolutely sure whether the grey clay is fired or not. DISCUSSION

Geographic location El Paraíso (also known as Chuquitanta, from the name of the hacienda on which the site is located) was until the 1990s the largest known preceramic site on the coast of Peru. The vast architectural complex is located in a quebrada opening onto the left bank of the Rio Chillón, some 4.5 km from its mouth. Unit 1 in which the figurine fragment was found, is a complex stone structure standing isolated at the head of the quebrada, slightly above seven further structures. Engel excavated five or six successive building phases at Unit 1, all yielding material without pottery. He does not specify to which building phase he assigns the figurine fragment, nor in what specific context it was found (Engel 1966a:49ff, 68). Context Offerings of wrapped stones and wood were found at Unit I (Engel 1966a:68; Quilter 1985:291). At least one room in the same unit, containing a sunken pit, appears to have fulfilled a ceremonial function (Quilter 1985:297). The function of the figurine may therefore have been ritual. Chronology A Carbon14 date, associated with the last building phases at Unit I, gives 3570±150 BP = 1676 BC (Engel 1966a:46). Engel stresses many similarities with the archaeological material from Rio Seco, such as twined textiles, a biface blade etc. (Engel 1966a:46, 67). Quilter (pers. comm.) places the whole of Unit 1 within the Late Preceramic Period, ca 1800-1500 BC. HUACA LA FLORIDA, RIMAC VALLEY

An unfired clay figurine (Patterson 1985:63, not illustrated) was retrieved from refuse deposits at Huaca La Florida, a U-shaped ceremonial complex on the right bank of the Rimac, 11 km from its mouth. The structure was started during the Preceramic, ca. 2150 BC, and abandoned before about 1750 BC, though reused at the end of the Early Horizon. The refuse deposits of a domestic nature containing the figurine were found on a clay pavement at the base of a large pyramid (1985:Fig.4(E). The earliest pottery at the site comes from the main floors above this pavement. Therefore no hypothesis can be made as to the date and function of this object. THE FIGURINES OF THE PRECERAMIC : SYNOPSIS

Very early human figurines are known from the late preceramic Mito phase at Kotosh (Izumi and Terada 1972: Pl.131, figs.11-13) 1. Two of these are contemporary, another two may even predate the figurines from Aspero. There are also early unfired clay figurines from the Hacha site, near Acarí on the South Coast (J. Rowe, personal communication), but these probably date to the Initial Period (Willay 22: 2; Morgan 2012: 20-21). However, except for the more elaborate specimens from Aspero, for which there were, till the late 1990s, no known parallels 2, all the early figurines are generally too simple in shape and decor to allow valid comparisons, even less to try and trace a common tradition. In that sense, I disagree with Feldman (l980: 154) that there is any resemblance, at this stage, between the fragment from Paraíso and figurines from Kotosh or from Valdivia 3. Quilter refers to what has been described as the "Kotosh Religious Tradition" 3, characterised by “numerous small sunken floors with hearts at their center... associated with A fourth figurine fragment, that of a head, is not illustrated (Izumi and Terada 1972: 210). See also Morgan 2012: 121. 2 Since then, similar and more complex specimens have been excavated at the Caral complex in the Supe Valley (see Shady et al., 2009). 3 see Burger and Salazar Burger (1980; 1986). 1

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concepts focusing on renewal and fertility” (1985:297). This tradition extended beyond the Highlands into a number of Late Preceramic and Early Formative coastal sites, though there are a number of variations from site to site. Moseley (1992) also sees a multiplicity of traditions reflected in the ceremonial architecture. At present the significance of figurines within these traditions cannot be assessed. The absence of figurines in the Preceramic strata of a majority of highland sites (other than Kotosh) contrasts with the Central Coast sites, though this absence may be partly due to the difficulty of unfired clay surviving in a highland setting. However, no preceramic figurines have been found to date on the North or South Coast either, though conditions of preservation are similar to those on the Central Coast. As far as the function of the Preceramic figurines is concerned it seems likely that it did at least transcend the domestic sphere. The cache at Aspero definitely points to a religious or ceremonial function, though Feldman’s interpretation of the cache as “symbolic human burials or sacrifices” (1980:155) is somewhat speculative. It is significant that both at Aspero and Paraíso the buildings in which the figurines were found, fulfilled—at least partly—a ceremonial function, whilst the other sites have ceremonial connotations. Parallels can also be drawn with Kotosh. But at this point it is not possible to see in the Preceramic figurines of the Central Coast a local aspect of a wider religious tradition, nor to find a definite explanation for their function.

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CHAPTER 2

THE EARLY AND MIDDLE FORMATIVE PERIOD ON THE CENTRAL COAST INTRODUCTION

The Formative Period on the Central Coast starts, by definition, with the appearance of pottery in the area and merges, rather less clearly, into the Early Intermediate Period, with the appearance of ceramic styles, such as Baños de Boza and Miramar, belonging to what has been called the "White-on-Red Horizon". The appearance of pottery coincides with the emergence—on the central Coast and in other areas of Peru—of large U-shaped architectural complexes, such as San Jacinto in the Chancay valley, Huacoy in the Chillón valley, Garagay and Huaca La Florida in the Rimac valley, Cardal and Mina Perdida in the Lurín valley to name but a few (Williams León 1978-1980) 1. Because post 1950 the emphasis in archaeological research has focused on social and economic aspects of the past, one of the most important chronological tools, the analysis of ceramic sequences, has been neglected. As a result the only chronology of the Formative on the Central Coast available is based on field-work—with a ceramic bias—of the 1930s to 1960s. This includes several excavations at Ancón (see Appendix 2) and excavations or surface collections in the Chillón, Rimac and Lurín Valleys, as well as areas to the north and south. Unfortunately access to the excavated or collected material is nearly impossible in Peru. Where published, the quality and quantity of the material described (see this chapter), makes it difficult to identify and compare ceramic styles or different ware types. The Formative Period figurines consist of a fairly large group from Ancón (excavated by Max Uhle, the MNAA and Hermilio Rosas), of a small number of specimens from the Rimac and Lurín valleys, and from Curayacu, a little further south, some of the latter closely resembling the Ancón figurines. In this chapter I try to reconstruct a comparative, or rather relative, chronological framework, taking into account the often contradictory data provided by the published Central Coast sequences. This is meant to prevent mistakes, arising from differing nomenclature or over-simplifications occurring in chronological charts and to show up the difficulties stemming from discrepancies between related ceramic sequences, absolute dating, etc. The figurine sample is then be fitted into this framework and dated. The chronological framework is set out as a comparative chart (see Chronological Chart 1) based on data contained in various studies (Willey and Corbett 1954; Matos Mendieta 1966, 1968; Fung 1969; Patterson and Moseley 1968; Patterson 1968, 1971; Rosas 1970; Scheele 1970; Macneish, Patterson, Browman 1975; Ravines et al 1982). The following remarks are meant as explanatory comments to this chart; for a detailed description of the ceramic assemblages themselves refer to the publications. Because in the earlier stages archaeologists often did not identify an initial, pre-Chavín, stage in pottery complexes, many of the described sequences flow from one period into the next. I shall therefore analyse the first two sub-divisions of the Formative (Early and Middle) together. For an in depth study, covering not only the Middle Formative (Early Horizon), but also the Early (Initial Period) and Late Formative, see Burger 1992.

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The Chronology of the Early Formative (Initial Period) and Middle Formative (Early Horizon Epochs 1 to 6): Explanatory notes to Chronological Chart 1 Column 1: Absolute chronology The dates for the Early Formative (Initial Period) are based on Patterson and Moseley 1968 (see below column 3) which on the whole synchronize with those given in other publications (Willey 1971, Lumbreras 1974, Macneish, Patterson, Browman 1975). Column 2: Relative chronology: the Middle Formative and the epochs of the Early Horizon 1 As already mentioned, the Middle Formative was originally defined by the appearance of Chavín influences in the ceramic assemblages. However, the absolute dating of this period and the matching of Early Horizon epochs—as used by a number of authors—with absolute dates are at best schematic. The general consensus seems to be that the beginning of the Early Horizon in the Ica valley (see Menzel 1977, chronological table) is placed rather early, starting around 1400 BC. In contrast Willey (1971:84) and Lumbreras (1974) place the beginning both on the Central and the South Coast around 900 BC. Note that for Burger, the Chavín specialist, the Early Horizon only starts around 600 BC (1992:231). His dating is based on stricter criteria for the Chavín influence and may well prove more accurate. But it goes against the conventional chronology: for instance Burger assigns the North Coast Cupisnique style to the Initial Period, whilst the Central Coast White-on-red style is included into the Early Horizon. Patterson and Moseley (1968) put the earliest manifestation of Chavinoïd traits on the Central Coast around 1000 BC., a date which I have adopted because the sequences discussed in this chapter imply a longer chronology. The end of the Early Horizon is even more controversial. Lumbreras (1974), for whom the Chavín period is by definition only the Middle Formative, places its end around 400 BC. Many other authors extend the Early Horizon to the beginning of the next marked change in the ceramic sequence, which on the Central Coast is the appearance of the so-called White-onRed Horizon (Baños de Boza), around 200 to 100 BC, regardless whether Chavín influences are still felt or not. Because of this—in the chart—epochs 1 to 6 of the Early Horizon correspond to the Middle Formative, whilst the later epochs, 7 to 10, extend into the Upper Formative. Column 3: Patterson and Moseley’s (1968) outline of the Early Formative or Initial Period The origin of ceramics on the Central Coast has as yet not been fully traced. Patterson and Moseley (1968:119-122) give a brief outline of the Initial Period, based on excavations and surface collections, mainly in the Ancón area, but extending to the Rimac and Lurín valleys and as far south as San Bartolo. The earliest ceramics appear at Ancón around 1750 BC and are closely followed by an unconnected ceramic style found at the large ceremonial site of Huaca La Florida, Rimac valley, and dated between 1700-1600 BC. Subsequent Ancón sequences , two Chira phases (ca 1650 to 1300 BC), followed by three Colinas phases (dated ca 1300 to 1175), are followed by a final phase (1175 to 1000 BC) before the appearance of Chavin-related elements around 1000 BC. Finally at Curayacu, near San Bartolo, two early phases (Curayacu A,B) contain some elements which also occur in the last four Initial phases at Ancón (Colinas and the final Initial phase) attesting some contact between the two areas. There is also evidence of contacts between Ancón and the Supe Lighthouse site to the North (Willey and Corbett 1954, Patterson 1971:32). However, whilst some rare pieces show the appearance of the Chavín- or Chavín-influenced style both at Ancón and at Supe, no such contacts are found at this stage in Curayacu. Column 4: Patterson (1968): In a short review of his excavations at the Ancón shellmounds, Patterson (1968) describes some of the ceramic assemblages. As these are relevant to the Ancón figurines, his pottery sequence is set out in the comparative chart. The following explanations, written in 1994, have been refined and partly modified in recent years (Kaulicke 2008, 2010). For an excellent up-to-date comparative chronology, see Jimenez 2009: Gráfico No. 1.

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Column 5: Patterson’s (1971) outline of the Early Horizon A schematic overview for the area from Ancón to Curayacu during the Early Horizon (Middle Formative) is given by Patterson (1971:32-37): During epochs 1 and 2 there are “...at least three distinctive ceramic styles”. The most widespread one, because it also appears in other areas, the Yanamanka style, contains clear Chavín elements, without local admixture. Another style (or styles) is represented by the survival of the late Initial Period elements both at Ancón and Curayacu and are different from each other, though the contacts between the areas seem to have increased. The third set of styles combines elements of the Yanamanka style with the local traditions at both sites. These last styles and the Yanamanka style itself gradually eliminate the local traditional elements. Epochs 3 and 4 see a marked “regional diversification”. The styles which develop, not only at Ancón and Curayacu, but in the Lower Rimac and Lurín valleys as well, have much in common, but “can be distinguished by their selection of different elements for emphasis”. And—curiously—they bear no relation with the Yanamanka style. Curayacu is abandoned at the end of epoch 4. Patterson admits that the data for the later Early Horizon had not been analyzed at this point—this is still true to-day. Regional sequences continue until epoch 7: they lack Chavín design elements, though they retain some surface texturing techniques. Patterson speaks of “increased isolation...and warfare” at the end of the Early Horizon. Column 6: Willey and Corbett’s (1954): excavations in the Ancón shell-middens and at Puerto Supe The excavated pottery is well described and illustrated, but the sample is small. As the only comparative material came from Uhle's excavation in the Ancón shell-middens (Strong 1925:152-156 and 174-176), Willey and Corbett had no wider framework into which to fit their sequence. In the wake of Tello's discovery of the Chavín style, the authors believed Early Ancón/Supe "to be a local manifestation of that particular horizon style" (1954:153), not realising that their material covered a much longer time span. But they did recognise a sequential development of the assemblage, sub-divided into Early, Middle and Late Early Ancón (1954:164). Their principal merit is to have highlighted the close links between Ancón and the northern part of the Central Coast. Also, their careful seriation—especially the stratigraphy of their Pit I, circa 100 m. from the Tank Site (see Chart 1)—has proved useful to later scholars, such as Lanning, R. Matos, R. Fung or H. Rosas working with the same material, and for the figurine chronology presented here (see below). Column 7: Fung (1969), incorporating data from Willey and Corbett (1954), E. Lanning (unpublished papers) and R. Matos (1962, 1966, 1968): Lanning's chronological sequence for the Central Coast, based on his own work in the Ancón shell-middens (near the Tank site) and Engel’s excavations at Curayacu, has not been widely available. It is known to us through Fung’s critical analysis (1969:147-151 and fig. 25) and through references in many other studies. At Ancón there are three phases (Chira, Early Ancón 1, Early Ancón 2). Later excavations produced a somewhat different ceramic assemblage (Colinas 1 and 2), which Lanning eventually placed 250 years later than his Early Ancón 2. Fung (1969:146-150 and Table B, opposite p.140) argues for a contemporaneity between the Colinas material and at least part of Early Ancón 2. The material spans most of the Formative. Lanning's sequence for Curayacu is divided into four phases (Curayacu 1 to 4). Phases 1 and 2 belonging to the end of the Initial Period, 3 and 4 to the beginning of the Early Horizon (epochs 1 to 4? see Fung 1969, Patterson 1971 ). Curayacu phases are also referred to by letters which appear equivalent to the numbers, at least for A and B = 1 and 2 (Shady 1983:30); I only came across one reference to phase C, placing it in the Initial Period (?) (Ravines et al 1982:144) and none to phase D. Another scholar, who also excavated at the Ancón shell-middens near the Tank Site in 1960-1961 was R. Matos Mendieta: his material is analyzed in his unpublished master's dissertation (1962) and the findings summarised in two articles, (1966) and (1968). Basically

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Matos divides the material into three, later four phases (A to D) spanning the Early and Middle Formative. In her doctoral dissertation about Las Aldas, Rosa Fung Pineda (1969) establishes an extensive comparison between the Ancón materials and sequences of Willey and Corbett, Lanning, and R. Matos. Briefly summarised Fung's sequence has the following phases (1969:chapter XXII, in particular 152-160); the correlation with the absolute chronology is based on Fung’s Table B (1969:140) : • Ancón 1: mainly plain ware from the lowest strata (8 m to 6.50 m) of Willey and Corbett’s Pit 1 - their Early Period—also roughly corresponding to Lanning’s (and Patterson and Moseley ‘s 1968) Chira phase and to Matos's phases a and b. • Ancón 2 : covers the ceramics described in Willey and Corbett's Middle Period (6.50 m to 4.50 m of Pit I), part of Matos' phase c, the lower strata of Lanning's Early Ancón 1 and is contemporary with Curayacu 1 and 2 (Fung 1969:147) 1. • Ancón 3: covers the beginning of Willey and Corbett's Late Period (4.25 m to 2.25 m of Pit I), and straddles the later part of Lanning's Early Ancón 1 and the beginning of his Early Ancón 2. It is contemporary with Lanning's Curayacu 3 and part of Curayacu 4. It appears to take up an intermediary position between Matos' phases c and d. This phase sees the appearance of the Bichrome type of pottery, which some scholars see as a first sign of Chavin influence on the Central Coast. This is Willey and Corbett’s Ancón Zoned Red: “The zoned red areas are brick red and contrast with the browner color of the undecorated portions...Both curvilinear and rectilinear designs are represented (1954:43 and fig.8c,e,g,h). According to Fung, this type actually is coeval with classic Chavin, though it could have much earlier local antecedents (1969:158). • Ancón 4: yields classic Chavín pottery, corresponding to part of Willey and Corbett's Late Period (2.25m to 1.50 m at Pit I), the latter part of Lanning's Early Ancón 2 (followed by a gap at Ancón between 500 and 250 BC) and to the end of Curayacu 4. Matos's phase d, subdivided into d-1 and d-2, allegedly only shows up classic Chavín in its later part (d-2), whilst the first sub-phase d-1 yields the Bicrome pottery. • Ancón 5: covers the post-Chavín style at Ancón, extending into the first phase (Base Aérea) of the Miramar style, as defined by Patterson 1966. From the very detailed discussion of the ceramics, one would assume that Fung had practical knowledge of the assemblages involved, in particular of Lanning's materials, both from Ancón and Curayacu. There are, however, discrepancies between her analysis and other, nearly contemporary, studies (see below). The main problem is her equating Lanning's Colinas 2 with the classic Chavín phase at Ancón, whereas this pottery style is now seen as pre-Chavín, even though Chavín influences were starting to be felt (Patterson 1971:32). This also leads Fung to extend the last stages of the Curayacu occupation to the end of the Early Horizon, whereas it was allegedly abandoned at the end of epoch 4 (Patterson 1971:35). But Fung's absolute dates (1969:181) are not too far off the mark, with Ancón 4/Curayacu 4 starting at about 700 BC. It is not clear whether scholars like Lanning, Patterson or Fung ever had access to the considerable material excavated by the MNAA under R. Carrión Cachot and T. Mejia Xesspe in the same area. According to Haas (1986:21) no fewer than 264 graves were excavated here. The value of these gravelots for seriating the assemblages would be inestimable, but except for a brief description (Carrión Cachot 1948) this material has never been published. Column 8: Hermilio Rosas Lanoir’s (1970) excavations at Ancón. The last important excavations at and near the Tank site (Colinas) were undertaken by In her final correlation Fung also includes Lanning’s Colinas material into Ancón 2 and Ancón 3; as this material is not relevant to the figurines, it is not covered here.

1

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Hermilio Rosas Lanoir, between 1961 and 1967. Rosas uncovered part of an Early Formative ceremonial structure and a number of middens containing Early and Middle Formative material, including a large number of pottery figurines. For this reason and because—under the name of Ancón or Estilo Ancón—it is now widely used to correlate Central Coast material, Rosas's chronology is of particular importance to us. From a chronological chart in his 1970 dissertation, it appears that Rosas established a ceramic sequence for the material he excavated, consisting of 10 phases, three of which belong to the Early Formative, the seven later ones, roughly dated to 1000 BC to AD, covering the Middle and Late Formative. But in his text Rosas further correlates some of his later phases with phases of what he calls the Período Chavinóide at Ancón (f.i. p.192: Fase VIII = Fase V del Período Chavinóide) 1. From references to Rosas’s chronology in other authors (Shady 1983:30, Ravines et al 1982:226), it would appear that this correlation eventually became the accepted chronology. Rosas’s Período Chavinóide, now referred to as the Estilo Ancón, has eight phases, belonging to the Middle and Upper Formative, no distinction being made between phases when the Chavín influence is clearly present and those when it is not 2. It is this accepted chronology that I set out in my comparative table. Since Rosas’s absolute chronology places the end of this period rather late (around AD), I have adjusted the phases to correspond with the general consensus of the other authors, the Rosas’s Chavínoide phases falling between 1000 and 300 BC and actually correlating with Early Horizon epochs 1 to 8. Column 9: R. Ravines et al., (1982): excavations at Garagay, Rimac Valley The rescue and restoration work at Garagay in the lower Rimac valley, one of the largest U-shaped ceremonial sites on the Central Coast, has provided valuable elements for the chronology of the Formative. In his analysis of the ceramic material from Garagay, Ravines (Ravines et al 1982) stresses that his material comes from a disturbed context, i.e. mostly from fill of the various construction phases (1982:136, 226). However, he identifies four ceramic traditions at the site (1982:136-137) a classification which he surprisingly modifies in his final summing up (1982: 226-227): 1. The Curayacu tradition, mainly in its phase B and C (1982: 136, 143-144). 2. The Colinas traditions (1982:138, 154). Ravines considers these two pottery traditions as contemporary, dating to the end of the Initial/Early Formative Period (1982: 226) 3. The Ancón tradition, including an assemblage related to Ancón phases 1 and 2, representing local forms following the appearance of Chavín influence on the Central coast, and an assemblage corresponding to phases 5 and 6 at Ancón, showing classic Chavín traits (1982: 138, 226). 4. The Huachipa tradition, resembling both late Formative styles from the South Coast, such as Topará, and from the Far North (1982: 138, 227). In absolute terms, four C14 dates for the site span the period from 1400 to 780 BC. Allowing for margins of error, Ravines sees the occupation of Garagay as having lasted 800 1 H. Rosas kindly allowed me to examine the figurines and his dissertation. Unfortunately, I had only time to look at his dating of the figurines, without being able to study his chronology in depth. The dissertation has since been published. 2 Shady’s reference to Rosas chronology (1983:30) is confusing. In a study of the Formative at Maranga, Rimac valley, she speaks of eight phases, “...the three first ones belonging to the Early Formative, the later ones, called Ancón...”(my translation). This would mean that there are five later phases. However amongst the late phases, Shady speaks of Ancón 2 and 3, which shows that the three early phases are not part of the Ancón sequence proper. In fact there are three early phases and eight Estilo Ancón phases. This is confirmed by Ravines et al. (1982:226) who refers to Ancón phases 1 and 2 as contemporary with early Chavin influences, and also refers to a phase 6, clearly indicating that the late part of the sequence extends beyond five phases.

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years in all, till about 600 BC (1982:135, 227). These dates appear somewhat early, especially as far as his "Ancón tradition" is concerned. We also know that the Huachipa tradition appears in the Late Formative (see below, chapter 3). In my chronological table Ravines’s data have been adjusted as far as the absolute chronology is concerned. Column 10: J. Palacios (1988): Reconnaissance and surface collections at HuachipaJicamarca, Rimac Valley 1. Huachipa, an archaeological site cluster, on both banks of the Rimac, near Vitarte on the Central highway—also incorporating the lower part of the Quebrada de Jicamarca, near the ruins of Cajamarquilla—has been exploited since the 1960s for brickworks. The site (or sites) has yielded a vast amount of ceramic material, including many figurines, retrieved in the course of the brick production, but not excavated scientifically, dating to the Formative, the Early Intermediate Period and very likely later. Independent investigations and seriations were carried out by J. Silva and J. Palacios. Silva and his team named the Middle and Late Formative pottery of the site the Huachipa-Jicamarca style, subdividing it into four phases (A to D). But since most of the figurine fragments in this sample were collected by Palacios, it is his chronology that we must examine in detail. Originally Palacios agreed with Silva's subdivisions, but felt that phases C and D could be further subdivided (personal communication). However in a fairly extensive publication of his material from the site, Palacios (1988) suggests a new 5-phase chronology, extending the time span from the Early Formative to EIP epoch 3/4, without however explicitly correlating his phases with the epochs. Palacios now applies the name Jicamarca (temprano, medio, tardío) only to material dating to the Early Formative, predating Silva's Jicamarca A. However Palacios Jicamarca phase cannot start earlier than the very end of the Early Formative, since it includes long-necked bottles and zoned, incised and punctated designs (1988:figs.1-3, 5, 6), related to the earlier (Ofrendas) phase of the Chavín style 2. The following Ventana phase, specifically dated to the Middle Formative and therefore replacing Silva’s Huachipa-Jicamarca A and B, is represented by a small sample, featuring some classic (Rocas) Chavin stirrup jars (1988: photo 4). I suggest therefore that the Jicamarca phases belong to the end of the Early Formative and the beginning of the Middle Formative (Early Horizon phases 1-3), whereas the Ventana phase belongs to the classic phases of the Middle Formative (Early Horizon phases 4-6). The later phases, to which majority of the figurines from Huachipa belong, are discussed in chapter 3. Although there are many shared traits between the Middle Formative figurines from the various Central Coast sites, a classification by site—rather than by stylistic groups—allows a clearer presentation of the material. THE FIGURINES OF THE LOWER AND MIDDLE FORMATIVE (INITIAL PERIOD AND EARLY HORIZON) GROUP 1: FIGURINES FROM THE ANCÓN SHELL MIDDENS When classifying the figurines excavated in the shell middens in Ancón by Uhle, Rosas and the MNAA, I have followed Rosas (1970) classification for his figurines into three groups (my sub-groups), also incorporating some specimens listed by Rosas as miscellaneous, but which typologically belong to his groups 1 and 3. Within these sub-groups, the figurines have been listed following chronological indications provided by H. Rosas (1970 and pers. comm.), who excavated 85% of the specimens. I have added a fourth sub-group for the figurines found by the MNAA, which represent a somewhat different type.

1

Incorporating some of the findings of J. Silva et al., (1982)

These comparisons are based on Lumbreras 1971 and 1977. Note that in the earlier work, Lumbreras considered the Rocas style to precede the Ofrendas style; this order was reversed as the result of further excavations.

2

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ANCON FIGURINES SUB-GROUP 1.1

Table 2 Plates 3, 4 Sample: 27 figurine fragments (only one complete specimen) + 2 atypical (examined all) Measurements: See Table 2. The only complete figurine (666), has a height of 14.3 cm. If we compare body fragments like 2005 and head fragments like 2287, we see that there can significant differences in the size of the figurines. GROUP CHARACTERISTICS

By far the most numerous of the Ancón sub-groups. Solid, standing figurines with narrow bodies and mostly plain backs. The head has two basic shapes: one naturalistic, with a high, slightly rounded crown (e.g. 2283/Pl.3), the other elongated and narrowing as a result of a hairstyle or head-dress (e.g. 2277, 2276, probably also 2282, 2278/Pl.3); two specimens (2291/Pl.3, 2292/Pl.4) have flatter heads. The incised decor probably indicates hair, with either diagonal strands (2277, 2276/Pl.3) or horizontal bands with a central parting (2290/Pl.3) and a fringe? (2287, 2288, 2289/Pl.3). However on 666, 2292/Pl.4 the bands are rendered by stippling, so a headdress cannot be excluded; 2291/Pl.3 definitely wears a head-dress. 2283/Pl.3 has a plain head, 2298, 2282, 2278/Pl.3 are damaged. In profile the head is completely flat, forming a continuous line with the body; except 2282/Pl.3, which is slightly tilted backwards. The face is naturalistic (2277, 2276/Pl.3) to slightly foreshortened (666/Pl.4); the chin is rounded (e.g. 2283/Pl.3) to practically straight (e.g. 666/Pl.4) and minimally protruding in profile. The eyes are mostly lozenge- or almond-shaped, with deep incisions marking the lids and deep circular punctations for the pupils (exceptions: 2291/Pl.3 with raised lids and no pupils, 2292/Pl.4 has slanted grooves, with deep punctations as pupils); naturalistic, fairly straight nose, the nostrils marked by deep punctations, no alae; mouth shown by a straight, broad groove; ears vary: 2291, 2287, 2288, 2276/Pl.3, 666, 2292/Pl.4 have incised circles, probably representing ear-plugs, 2282/Pl.3 shows some modelling with a straight incision; no ears on 2283, 2277/Pl.3. The neck is indicated by a deep groove in front only. Only four complete bodies are preserved: they show an evolution from an elongated, fishlike shape, narrowing down from the shoulders, flaring again at the base and lacking arms (2005, 2280/Pl.3), to a broader, shorter, triangular shape, with wide shoulders and some indication of arms (666/Pl.4); an intermediate shape is represented by 2279/Pl.3. Modelling is rare (breasts on 666), but incised lines may indicate arms (2281?, 2279/Pl.3), the thoracic cage (2297/Pl.3) and/or clothing. In profile the body is flat and narrow. The arms are clearly shown on six specimens: on 2297/Pl.3, 2296/Pl.4 modelled arms and hands are placed along the sides of the body; 2006/Pl.3 has arms, but no hands; on 2284/Pl.3, 2285/Pl.4 only modelled hands are shown, on 666 only the lower part of modelled arms are shown, with hands supporting the sagging breasts?. Hands are rounded, with two or three incisions for fingers. The legs are stylized, with a fish-tail shape, evolving from a single extremity, with only some incisions to indicate toes or fins (2005, 2280, 2279/Pl.3), through a first indication of a separation (2293, 2294/Pl.3) to a deeper groove (666, 2296/Pl.4) to a clear separation (2295/Pl.4). Feet as such are not indicated (the base only widens), but the incisions may represent toes. On the figurine fragments where this area is preserved genitals are not indicated. Breasts, modelled, sagging, with central punctations for the nipples on 666; possibly indicated by incisions on 2297/Pl.3, 2285/Pl.4. The umbilicus is shown by a deep punctation on 2285 and 2296?/Pl.4. An incised circle on 2284/Pl.3 probably represents a pendant. The back is plain (except for hair shown by diagonal incisions on the upper part of the head on 2277/Pl.3 and vertical incisions down to the neck on 2288/Pl.3), fairly straight vertically, very slightly convex from side ti side. Modelling of the arms is faintly visible on 2297/Pl.3 and 2006/Pl.3 (it also has four diagonal incised lines at the back). Clothing, accessories: A low cap seems to be depicted on 2291/Pl.3, decorated with horizontally aligned stippling, also at the back. 2282/Pl.3 is wearing a short tunic, marked by

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small incisions at the sides and waist; 2296, 2002/Pl.4 feature a large square on the chest, with lateral incisions on 2002, which may also represent a garment. 2006/Pl.3 has long vertical lines incised at the front and back. A necklace may be represented by a horizontal band with incised lozenges and central dots (2281/Pl.3), stippling (2283/Pl.3), a row of square incisions (2277/Pl.3), a row of five large circles (2286/Pl.4), two concentric rows of incisions (2285/Pl.4), stippling inside three large pendant triangles (666/Pl.4), incisions (2292/Pl.4). Pendants are shown on 2005/Pl.3 (appliquéd, semi-spherical, with some stippling, attached to appliquéd string), 2282/Pl.3 (raised, with incised string and outline, central punctation). Diagonal incisions below the neck (2278, 2279/Pl.3) may also represent pendants. Circular ear-plugs are shown on seven specimens (see above ears). Manufacture All the figurines are hand-made and solid. 2297 and 2005/Pl.3 have perforations at the shoulders which may have served to hang the figurines: on 2297 a groove linking the two holes is visible, but on 2005 the holes are not connected. The most common ware has a black (also greyish or brownish black), burnished, unslipped surface, sometimes achieving a very high gloss (see 2006/Pl.3), whilst the incised grooves remain matt. The shallow grooves—made with a blunt instrument—can be filled with what appears to be post-fired resinous paint in different colours: red occurs on ten figurines, white on seven, yellow on three, orange and pink on one; these can occur in combinations of four (2006), three (2278, 2296), two (2281, 2287, 2295) or one colour (six specimens), but the overall number of figurines with inlaid paint was probably higher, many fragments being heavily eroded. One rather unusual figurine (2297/Pl.3) has a pale terracotta surface. The paste varies from coarse to fairly fine. Temper includes some large particles looking like ceramics, but which may be sandstone; fine black temper also occurs. The colour of the paste varies from grey to buff, but pale terracotta also occurs. The decor generally consists of fairly broad incised lines; punctations, used for eye pupils or nostrils, and stippling—on 666 within outlined areas—also occurs. Atypical: 2299 is a small figurine, with large shoulders and a body tapering to conjoined straight legs, without feet; the back shows and unmistakable hump; the head is missing. A decor of wide shallow grooves in the area of the arms, which are not shown. The figurine is hand-made, solid (but with shallow holes at the shoulders and lower legs), with a dark grey surface. 2308 is a very large but short leg (the crotch can just be seen) and foot, with two remaining incisions indicating toes; the profile is also unusually broad. The hand-made fragment is solid, with an orange surface. ANCON FIGURINES SUB-GROUP 1.2

Table 2 Plate 4 Sample: 6 head fragments (examined 6) Measurements: See Table. Some of the fragments are so large, that—extrapolating—a complete figurine would measure over 35 cm. CHARACTERISTICS

The fragments mostly show faces only. The crown of the head, partly preserved only on 2301 and 2302, is semi-circular, low, separated from the face by a recess (2301) or a groove (2302) and adorned with incisions. The profile (2301, 2302) appears flat. The face is broad, flat, with minimal modelling of the cheeks; incised nose-to-chin lines (2301, 2302), incised cheek decor on 2303, 2300; the chin is broad, rounded, slightly protruding in profile (jutting on 2300). The eyes vary greatly: almond shaped, outlined by a deep incision, bulging eyeballs with closed lids? (2301, 2302); extremely elongated, also with closed lids (2303); lozenge-shaped (2304), naturalistic, bulging (2305), both outlined by incisions, with incised or punctated pupils; missing on 2300; eyebrows indicated by a row of vertical incisions on 2302, 2305. All (except 2300) appear to have an upturned nose (starting high on the forehead on

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2301, 2303), with incised nostrils; alae on 2302, 2300 (incised) and 2303 (modelled); nose missing on 2304. The mouth is marked by a single incision on 2301 (with corners turning upwards) and 2302; three incisions, turned downwards, on 2303; modelled lips on 2300; missing (damaged) on 2304, 2305. Naturalistic, modelled ears, rounded with central depression, placed quite high on 2302, 2304; protuberances with a small incision, placed very low on 2301; damaged on 2303, 2305, 2300. Incisions at the back of 2301 may represent hair. The neck is only partly preserved on 2301 and 2300. The body is not preserved. 2301 has a necklace of small vertical incisions. Manufacture: All the fragments are hand-made and hollow; according to Rosas (1970:221), one specimen (2302) is coiled. The surface colour varies from terracotta (orange) to brown or greyish black and contrary to Rosas description only 2302 and 2303 have a polished surface; there are traces of black (paint?) on 2301. The paste is quite coarse, with sand temper; its colour is generally pale terracotta. The decor is applied with incised lines, which are somewhat thinner and sharper than in sub-group 1.1. ANCON FIGURINES SUB-GROUP 1.3

Table 2 Plate 5 Sample: 4 figurine heads (examined 4) Measurements: See Table. The heads are small: a complete figurine would measure 12-15cm. CHARACTERISTICS

Four solid head fragments modelled in the round, narrow, elongated, featuring an elaborate headdress (damaged on 2004). Somewhat flattened in profile, except 2307 with a headdress projecting backwards. The long and narrow face lacks modelling; the rounded chin is slightly protruding. The eyes are indicated by narrow grooves, slanting upwards, with deep central punctations for the pupils (2306, 2307); similar, perhaps less slanted on 2003, 2004, but now eroded; eyebrows are not visible. The nose is very straight (similar to a Greek nose) on 2306, 2307, with deep punctated nostrils; damaged on 2003, only nostrils visible on 2004. The mouth of 2306, 2307 is a short, deep incision, eroded on 2003, 2004. The ears are shown by large circular ear-plugs on 2306, 2003, 2307. The neck is marked by a broad groove. The body is not preserved. The elaborate headdress consists of a fluted cap projecting above the forehead, a straight middle section (appliquéd at the front only on 2003) and a top section, short on 2003; higher, fluted on 2306; very long, curved backwards on 2307; damaged on 2004. A necklace, in four broad sections, is worn by 2306. Manufacture: Hand-made, solid heads. The surface is mostly rather eroded and varies in colour from grey to buff and orange. There are traces of red or black paint in the head-dress incisions on 2306 and 2307. The paste is buff, fine to medium, with sand temper. Some decorative elements (headdress) are appliquéd, others incised; the incisions can be fine and sharp, but also broad and rounded (see neck of 2003, 2307). ANCON FIGURINES SUB-GROUP 1.4

Table 2 Plate 5 Sample: 2 Figurines (examined 2). Measurements: See Table. DESCRIPTION

668: Standing figurine, with fairly normal proportions. The head has a rounded crown, incised hair with a central parting and a fringe or hair-band covering the forehead; the hair is also shown at the back, descending slightly below the neck; the head is flattened in profile, probably showing fronto-occipital deformation. Modelled brows and eyesockets, semi-circular eyes and eyeballs, with straight lower lids; naturalistic nose (chipped), with incised alae; mouth indicated by an incision; naturalistic ears; modelled neck. The body has fairly wide shoulders and some modelling of the thoracic cage (or breasts?) and the groin; the lateral outline slightly widens at the waist, then 36

tapers towards the legs; in profile the back is slightly convex. The arms are placed along the sides of the body, the hands have five incised fingers. The legs are short, cylindrical, conjoined along the inside; feet are short, with incised toes. Genitals are not shown, but the general aspect is that of a female; a small depression marks the umbilicus. The back is featureless except for the incised hair (extensively repaired). No clothing or accessories are depicted. 669: Ornate, standing figure. The head is missing. The body is massive, with rounded shoulders and slightly tapering sides; there appears to be some modelling of the chest, with incised ribs? The thin. modelled arms are folded upwards, holding a staff, the broad square hands have four fingers. The massive conjoined cylindrical legs are separated by the staff, the feet are short, rounded, with incised toes and also protrude at the back (restored?). No genitals or umbilicus. The profile is bulky, slightly tapering downwards. The back features a wide belt and various incised designs (see below). Clothing consists of a broad belt, with square elements, the tied ends hanging at the front and back. Other incised designs may represent clothing: a circle on the left upper chest, the incised ribs mentioned above, lines and semi-circles on the arms, large circles with inscribed semi-circles at knee level and a flower design on the sides of the legs. At the back, below the neck, three pendants representing heads with a hanging tongue and—below them, on each side—fleur-de-lys-like designs. Manufacture: Both specimens are hand-made and hollow. 668 has one air-hole at the anus, but there are no air-holes visble on the body fragment (669): they may have been located in the missing area. The surface is black, with a greyish tinge and well polished. The paste appears to be grey, of medium texture, with sand as tempering. The type of incisions used for the ornamentations varies from thin, sharp lines (see hair of 668), to very shallow for some of the designs on 669. DISCUSSION (SUB-GROUPS 1.1 TO 1.4) Special features Most head fragments (except those in sub-group 1.2) show signs of cranial deformation of the fronto-occipital variety 1. This reflects the evidence of skeletal material for the Formative Period on the Central Coast, which shows a 100% application of this practice (Newman 1947:Table 3) 2. Some figurines (2277, 2276, 2278/Pl.3 in sub-group 1.1 and the figurines in sub-group 1.3) may have a deformación por llautu, resulting in an elongated head (Weiss 1962). This type of deformation was practised in the Sierra. It occurs on Central Coast figurines in the late Middle Horizon and especially in the Late Intermediate Period Chancay style. Throughout the pre-Columbian era, cranial deformation appears to have been culture-specific, "correlated with regional, ethnic, or clan affiliations rather than status or gender." 3 The atypical 2299/Pl.4 (sub-group 1.1) is obviously a hunchback. This is the first instance of this deformity rendered on a figurine: it becomes quite common during the Late Intermediate Period and has a magic/mythical connotation (see Chancay 1.1, Special features). 669 (sub-group 1.4) obviously depicts an important anthropomorphic—possibly mythical—being. The missing head may have had attributes like fangs (see Garagay, below). The shape of the body is human but very massive and the broad hands look like paws. The figure wears a belt or loin-cloth with a central panel hanging down at the front and back and an incised decor possibly imitating a snake-skin. Other incised decorative elements— representing body-paint or a textile garment—include three heads with pendant tongues For an overview of cranial deformation in pre-Columbian Peru, its techniques and motivations, see Weiss 1962, who distinguishes 12 types of deformation; Reichlen 1982. 2 The relevant skeletal material was recovered by the Columbia University Expedition in the Supe area. Unfortunately the much larger samples from various excavations in the shell-mounds at Ancón has—to my knowledge—never been studied. 3 Blom, Deborah E. (1999): Tiwanaku Regional Interaction and Social Identity: A Bio archaeological Approach. Ph.D. dissertation. Dept. of Anthropology. University of Chicago. 1

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(around the shoulders at the back), fleur-de-lys designs (also at the back), flower-like designs on the sides of the legs and circles on the knees. The most striking feature is a staff in the shape of a serpent, with a central groove and overlapping scales, held vertically along the middle of the body. Some of these decorative elements can be found in Early Horizon contexts elsewhere: • A belt or loin-cloth with panels hanging at the front and back—though lacking the snake-skin decor—occur on Tembladera figurines (Lapiner 1976: figs. 55, 62); • These same figures hold a flute to their lips: the position of the instrument and the decor (with a central groove) does recall the staff of our figurine, but the latter is longer and does appear to terminate at the neck; • The staff itself, often with snake elements, is an integral attribute of the Chavín deity (Lapiner 1976:fig.116), but it is always shown at the side (or sides) of the figure, never held along the front; • Demons with a pendant tongue, mostly attached to serpent bodies, are common on Paracas textiles (Lapiner 1976:fig.161; Anton 1984:fig.68); • I was unable to find Early Horizon parallels for the fleur-de-lys design. Links with other groups As can be expected, the Ancón material is closely linked to figurines from Curayacu. A striking resemblance exists between the famous Curayacu figure (667) and an Ancón subgroup 1.4 figurine (668). They have similar hair styles (fringe on the forehead, central parting with hair strands arranged laterally at the front, then combed backwards and hanging down below the neck in the back), semi-circular eyes set in modelled eye-sockets, grooves indicating the rib-cage, arms outlined by a groove and placed along the sides of the body (the hands are placed over the abdomen on 667), short tapering legs. Both figurines are hollow, with an air-hole at the anus. Both figurines also share common traits with some Ancón subgroup 1.1 specimens: the arrangement of the hair (2288/Pl.3, 666, 2292/Pl.4 and others, but there the hair is not shown in the back) and the body (2297/Pl.3), with outlined rib-cage and arms along the sides. There is also some resemblance with a head-fragment (P443) from Cardal, Lurín (see below), though this is closer to the Curayacu figurine. In addition solid figurines with incised decor and post-fired red or white paint, similar to Ancón sub-group 1.1 figurines were found at Curayacu (see below P446, P448) 1. Eyes like those of 2292/Pl.4 (Ancón sgr. 1.1) and sgr. 1.3 figurines—a deep, narrow incision with a deep punctation marking the pupil—also occur on Curayacu figurines (P446 and P448). Other instances with such eyes are rare: one is a figurine from the Kotosh phase at Shillacoto, Huanuco (Izumi et al., 1972: Pl.33.2) which also wears a similar headdress; another is the so-called “Scribe”, a figurine from the Frías area (MNAA 41440) 2. One of the most curious links is that existing between Ancón sgr. 1.1 figurines and late Chancay black ware figurines with post-fired red, white and yellow incrustations (see Chancay 1.6.2). Obviously the Chancay population at Ancón must have come across these earlier figurines and copied them! Context Since both Uhle’s and Rosas’ excavations in the so-called Ancón shell middens, now called the Ancón Tank Site (see Appendix 2) only encountered a few simple burials lacking grave-goods, we must assume that the figurines of sgs 1.1 to 1.3 were used in a domestic context, either as household gods or for curing or other magical practices. Although Rosas also excavated part of a ceremonial structure, he confirmed that all the figurines came from a midden context. A small incised bird (Engel 1956:figs. 9C) has post-fired white, red and green pigments, the latter colour not recorded at Ancón. 2 See also Vol.III, Plate 63:P284; Vol.I, Plate 11: 756. 1

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The two specimens in sg. 1.4, on the other hand, were excavated in the adjacent necropolis (numbered Ancon 2 by the MNAA) and—although we have no data about their exact context—we can assume that they were grave-goods. The difference in style between the various sub-groups could indicate a difference in use, but it is more likely that they reflect a time difference (see below, Chronology). Geographic distribution Judging from a map drawn by Patterson from an aerial photograph of the Tank Site (see Scheele 1970), all the Ancón figurines were found within a radius of about 300 m. from the water tank. Uhle’s excavation is not shown on that map, but can be located on Willey and Corbett’s map II (1954:6). I was unable to study the lay-out of Rosas’ excavations nor to differentiate between various areas and strata from the markings on the figurines themselves (see Table 2). Chronology (refer to Chronological Chart 1 and explanations above) Sub-group 1.1 Rosas (1970: 220) dates this sub-group from Ancón 3 to Ancón 7, with a peak in frequency during ”... the classic epoch of the Chavín tradition, associated with the bi-chrome phase...”(my translation). From this material as well as from Fung’s chronology it is obvious that the peak period must have been Ancón 6. As far as I am aware Rosas’ material contains only one phase 3 figurine (2298/Pl.3, listed by him under miscellaneous no.4, see 1970: 223) and two phase 4 figurines: 2308/Pl.4, the large atypical foot fragment (listed as miscellaneous no.5, see 1970: 224) and a orange ware body fragment (probably 2297/Pl.3, referred to indirectly on p.192 and illustrated in Lámina XVIII b). The bulk of the material belongs to phases 5 and 6, with 2281, 2283, 2289, 2291 specifically mentioned as phase 5, and 2282, 2277, 2279, 284, 2286, 666 as phase 6 (1970:192, 205, 218-220); 2299, the atypical fragment of a hunchback (miscellaneous no.1, 1970:223) is assigned to phase 7. Unfortunately some difficulties occur with Rosas’ dating: • When showing me his figurines, H. Rosas pointed out the development—in time— of the lower body, from an undivided fish-like tail (e.g. 2280), to a beginning of a division (e.g.n2293, 2294) to a clear representation of two extremities (e.g. 2295). If this sequence is correct, it is surprising to find that Rosas assigns a body fragment with fish-tail (2279) and a beginning of separation into two legs (666) to the late Ancón 6 phase; not to speak of the fully divided feet of the atypical 2308, assigned to phase 4. • In a schematic drawing of the ceramic sequence at the Tank Site, Rosas shows figurines with a high asymmetric hairstyle as the earliest in the sequence. And yet in his listings, 2277, with just such a hairstyle, is assigned to phase 6. • In addition to these internal contradictions, I find that there is no significant iconographic difference between the given phases: the body of 2298b, assigned to phase 3, and that of 2279, assigned to phase 6, are very similar, except for the colour, which on 2298 may be due to erosion; equally there is little difference between a phase 5 head like 2289 and a phase 6 head like 666. If we test Rosas’ dating against other ceramic sequences from the site, we find that the ware types used for sub-group 1.1 figurines correspond to Willey and Corbett’s Ancón Line Incised (1954:37-38), Ancón Stippled (1954:49-50) and Ancón Polished Black (1954:53); all three types have a very long life span (the first type occurs throughout the sequence, the latter two in the middle and late phases). There is no mention of post-fired decor in Willey and Corbett’s excavation, but it occurs in: • Patterson’s Balta phase (1968:423), during Early Horizon 3, 4 (e.g. Ancón 3 and 4);

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• Lanning’s Early Ancón II, which Fung (1969:147) correlates with the 3.25 to 0.00m strata of Willey and Corbett’s Pit I (i.e. from about Ancón 3 onwards); • at Garagay this decor is said to be typical for Ancón 6 (Ravines et al 1982:227) • at Huachipa this decor occurs on a Late Jicamarca figurine, probably dating to Ancón 3 (see below, Huachipa) • at Maranga, already during Ancón 2 (Shady 1983:30); • at Curayacu (Engel 1956:Figs.9A,C), not later than Ancón 4, when the site was allegedly abandoned. These additional data rather widen the time span for this type of ware: it is possible that more fragments actually belonged to phases 3 and 4. But in the absence of other evidence, I have broadly followed Rosas’ dating—including three fragments excavated by Uhle—trying to accommodate all the indications Rosas gave me (see above and chronological order on Table 2). Although the starting point could be before EH 4, the bulk of the sub-group dates to phases 5 and 6. Sub-group 1.2 This sub-group is dated by Rosas (1970:222) to Ancón 5 and 6 (e.g. EH 5, 6). I have been unable to identify decorated red wares in other excavations that match up with this sub-group. Sub-group 1.3 This sub-group of elaborate head fragments (including two from Uhle’s excavation) is dated to Ancón 6 by Rosas, though a not dissimilar specimen from Curayacu (P448) and the specimen from Shillacoto (Izumi et al., 1972: Pl.33.2)1, dating to the Kotosh phase, should be earlier (EH phase 3, 4?). Sub-group 1.4 668 is iconographically related to sg. 1.1, but is distinct because it is hollow. In spite of its more sophisticated aspect and manufacturing technique, this figurine dates probably not later than Ancón 4: the chest and position of the arms resembles 2297 (sg. 1.1), assigned to phase 4 by Rosas. It also resembles the Curayacu figurine 667, which should not be later than phase 4, when the site was abandoned. If we correlate these specimens with a similar Cardal figurine (P443, see below), they may date to phase EH 3 or 4? The elaborate 669 clearly shows Chavín influences: the rather shallow and curvilinear incisions are more reminiscent of the earlier Ofrendas-type Chavín pottery (Lumbreras 1993). Therefore, like 668, it probably pre-dates Ancón phase 4. GROUP 2: FIGURINES FROM CENTRAL COAST SITES OTHER THAN ANCÓN

1. RIMAC VALLEY SITES GARAGAY

Garagay is a large ceremonial site situated on the right bank of the Rimac, 2 km from Lima airport. Three main structures, surrounding a vast esplanade, form a typical U-shaped ceremonial center, characteristic for the Formative Period. Excavations undertaken in 1959 and again in 1974 investigated structure A, to the east of the main pyramid and part of the central structure (B), facing north across the esplanade. The latter shows evidence of at least three phases of construction, the excavations uncovered sections of the last and middle phases, the Templo Tardío and Templo Medio respectively. Both were adorned with remarkable reliefs, but those of the earlier excavation have unfortunately been destroyed and the records lost (Ravines and Isbell 1975). 81 fragments of figurines were recovered from various fills and midden deposits. None of these are illustrated, but from the description (Ravines et al 1982:158) they appear related to

1

See Vol.III, Plate 63: P284. 40

figurines from Huachipa 1. Although Huachipa figurines date mainly to the Epiformative (i.e. the Late Formative/early Early Intermediate Period: see Chapter 3), a few appear during the Early Formative (see below). The absence (or scarcity?) of any figurines resembling the Ancón material may indicate that—as Burger stipulates (1992:185)—Garagay “ceased to be a major ceremonial center” during the Early Horizon. In addition to these unpublished figurine fragments, three very curious plaster figurines were found at Garagay (Ravines and Isbell 1975: 265-266, Figs. 28/29, 30/31, 32, 33 2). Although strictly speaking these figurines fall outside the scope of this study because they are not made of pottery, their interest—both iconographic and functional—is such, that they deserve a short mention here (Fig.1: Ravines and Isbell 1975: figs. 25, 29, 30, 32)

fig. 28

fig. 29

fig. 30

fig.32

Fig.1: Three plaster figurines from Garagay

The three figurines are made by applying plaster on a core: a wooden stick surrounded by leaves and fibres for figs.28/29, not described for fig.30, a thread wound around a small stone for fig.32. The features are modelled and painted (figs.28, 30) or simply painted (fig.32). Figs. 28 and 30 have elliptic eyes with an incised outline, large noses with nostrils and alae; both have a large mouth (incised, with appliquéd teeth on Fig.28, modelled and painted, with white lips, two fangs pointing upwards and two downwards on fig.30). Fig.30 has hair made of fibre, held back by a leather strap. Fig.32 has circular eyes, large nostrils and a large mouth with upper teeth and two large fangs. The body of fig.32 shows some unidentifiable painted features; otherwise the bodies are featureless, except for modelled arms, with hands showing naturalistic fingers with fingernails (fig.29). Figs. 28/29 and 30 are wrapped in woven cloth. Fig.28/29 has its arms tied underneath to the body by some thread; in one hand it holds a small thorny stick. Fig.30 is completely dressed under the outer wrapping, with a small stone covered in thread by its side, and two small thorny sticks, their barbs intact, similar to the thorny staffs attached to fig.28 on either side. The figurines were found in the Late Temple stratum, in circular pits (a, b and c), into which wooden columns supporting the roof were secured; these pits are also referred to as offering pits. Figure 32 was found in pit a. The stratigraphy of pit b is ambiguous because it was enlarged during the construction of the Late Temple but the figurine (fig.28/29) could have been part of an earlier fill, dating to the Middle or even the Early Temple. The Note that Scheele (1970:fig.69 j) illustrates a solid fragment of joined feet, very similar to those of Ancón sub-group 1; the caption reads “from a site in Lurín and Rimac” (sic!), but the fragment is listed on Table 18 as coming from PV47-19, e.g..Garagay. 2 It is not clear whether we are dealing with three or four figurines: the figurine referred to in the text (p.265) as fig. 33 is obviously fig. 32, found in pit A. The caption under fig.33 says that this “offering” was found in pit B of the Templo Tardio, whilst a caption for fig.28 says that the figurine depicted was found in pit B of the Templo Medio. The text states that pit B could date to the Templo Tardio or the Templo Medio and that the figurine found in this pit is fig.28/29. I suspect that the (stone?) object represented on fig.33 comes from the 1959 excavation and that it is not described in this text. 1

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stratigraphy of pit c, where the third figurine (fig. 30) was found, is not discussed (Ravines and Isbell 1975: 265). On the basis of the resemblance of fig.32 with the “Smiling God”, associated with the Old Temple at Chavín de Huántar, the authors conclude that the Late Temple at Garagay is contemporary with the Old Temple at Chavín, dating to about 1000 BC. As for the Middle Temple, the freezes show some Chavín traits though many others are absent. It therefore precedes the spread of Chavín on the Central Coast, pre-dating the Late Temple by about two centuries (Ravines and Isbell 1975:266). Although Chavín de Huántar is now seen to be considerably later (Burger 1992), this Garagay chronology is in keeping with the radiocarbon dates from the site, ranging from 1400 to 750 BC. It would appear therefore that the plaster figurines are significantly earlier than any of the ceramic traditions recorded from disturbed contexts at the site (see above, chronology). QUEBRADA CANTO GRANDE

Table 2 Plate 5 Sample: 1 head fragment (examined) Measurements: See Table P449: top of the head and face of a small hollow figurine. The crown is rounded, with incised hair originally covering the back of the head, now partly broken off, which appears flattened (fronto-occipital deformation). A stepped, incised groove decorates the forehead, numerous small incisions indicate eye-brows; the incised eyes are circular, with a deep central punctations marking the pupils; the modelled nose is quite prominent, with punctated nostrils, but no alae; the lower face, including the mouth are broken off; left ear appears pointed, but might be broken, the right ear is missing. Diagonal tearlines, consisting of two parallel incisions and punctated fillers, go from the eyes to the (now missing) chin. DISCUSSION

Quebrada Canto Grande is located on the right bank of the lower Rimac, in the district of San Juan de Lurigancho, now entirely within the urban zone of Lima. A number of Formative settlements, including ceremonial architecture such as a U-shaped temple, as well as terracing, spanning the whole of the Formative, were originally reported from the Quebrada during the 1940s, but were gradually totally destroyed by encroaching urbanization (Abanto 2009). The figurine fragment, a surface find in the area of the U-shaped temple, is very similar to specimens from Huachipa, and more precisely to 2309 (see below, Palacios 1988: fig. 1d); Although other Early Formative surface finds from the area share features with Garagay and Ancón, Abanto (2009:172) notes that the figurine fragment, along with Huachipa material dated to the early Jicamarca phase there, shows a somewhat different tradition from Ancon. Note that this is the first instance of so called tearlines, incised or painted lines attached to and below the eyes, which become a very common feature across time and space in Peru. HUACHIPA

Table 2 Plate 5 Sample: 1 head fragment (examined) Measurements: See Table DESCRIPTION

2309: Upper part of a head, with a rounded crown, flattened in profile (fronto-occipital deformation); two parallel incised stepped lines decorate the forehead. No eye-brows, incised lenticular eyes with punctated pupils. Short modelled nose with punctated nostrils. Small modelled semi-circular ears with central perforation. The mouth and chin are missing. Incised lines (horizontal over the forehead, vertical at the back) indicate hair. The fragment is hand-made, solid. The paste is coarse, the surface rough, the colour terracotta.

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DISCUSSION

The site has yielded a number of figurines, mostly dating to a later period (see Chapter 3). As far as this Early/Middle Formative figurine is concerned, its specific context is unknown, since the Huachipa area, including the lower part of the Quebrada de Jicamarca, is totally disturbed by brickworks. There are habitational vestiges, as well as remnants of a U-shaped ceremonial structure and of burials (Palacios 1988 and personal communication). The chronological position of 2309 is Early Jicamarca, dated to the Early Formative or Initial Period (Palacios 1988:13 and see explanations to chronology above). Although the incised hair and eyes, with punctated pupils are reminiscent of Ancón sub-group 1.1 and some of the Early Jicamarca pottery (Palacios 1988: fig.1a and 2a) does show some resemblance with early Chavín forms, we must bow to the superior knowledge of archaeologists like Palacios and Abanto (see above) and place these fragments in the Early Formative.

2. LURÍN VALLEY SITES (Malpaso, Cardal, Manchay Bajo) Table 2 Plate 5 Sample: 7 figurine fragments (examined none) Measurements: See Table. DESCRIPTION

P438: Small solid head fragment, with incised lenticular eye and incised head-dress decor of squares with central dot, found at Malpaso (also known as Piedra Liza). It does not resemble other Formative Central Coast figurines, but the fragment is small.. P439: Lower legs, probably of a sitting figurine, with incisions dividing the legs from the body and from each other; incised toes; from Malpaso. P440, P441: Fragments of feet, both with modelled ankle-bone and incised toes. P440 is broader and hollow; P441 narrower and solid. P440 from Cardal and P441, probably also from Cardal (?), are not unlike 2308/Pl.4 (Ancón sg.1.1, atypical), except that P440 is hollow. P442: Hollow body fragment, with an incision to show folded arm? From Cardal. P443: Naturalistic hollow head-fragment: rounded crown, incised hair with central parting hanging down to the neck at the back, fronto-occipital cranial deformation showing in profile. Modelled face (brow, cheek-bones, chin), small incisions marking eyebrows, eyes with incised/modelled lids and prominent eye-balls, long nose with nostrils and alae, incised/modelled lips. Naturalistic ears with small circular ear-plugs. P444: Body fragment with modelled arm folded at waist, two or three incised fingers, plain necklace; from Manchay Bajo. Manufacture: Hand-made figurine fragments, four of which are solid and three hollow. There are no data regarding colour, surface finish, etc. One head fragment (P438) appears to be made in a highly polished, perhaps dark orange ware. DISCUSSION

During his research for his (unpublished) dissertation about the Chavín occupation of the Central Coast, H. G. Scheele (1970) did surface collections and test excavations at sites in the Lurín valley, finding a few figurine fragments described here. The fragments come from various sites: Malpaso, a “small scale civic ceremonial center”, which survived at a time— during the early part of the Middle Formative—when larger Initial Period U-shaped structures were being abandoned (Burger 1992: 70, 184), amongst them Manchay Bajo, the only Ushaped ceremonial structure on the right bank of the Lurín, and Cardal, a large population center with public architecture (Burger 1992:69; Burger and Salazar 2009b). R. Burger (personal communication) excavated “numerous figurine fragments at Cardal 1. These fragments come from female figurines, like those found at Ancón or Curayacu, in which the torso, arms and legs are modelled crudely, but the hair and face are treated with 1

Unfortunately – as far as I know - these figurines have not been published to date. 43

some care. One face fragment is said to rival that of Engel’s Curayacu figurine (e.g.667) in quality; Scheele apparently found its other half, but unfortunately "his collections have been misplaced.” P440 from Cardal and P441, probably also from Cardal (?), are fragments of separate lower legs and feet, not unlike 2308/Pl.4 (Ancón sg.1.1, atypical), except that P440 is hollow The most interesting fragment is that of a hollow figurine head (P443), also from Cardal (1970: 161ff and Pl.19,20). Its realistic modelling and hairstyle, as well as the manufacturing technique are reminiscent of the Curayacu specimen (667) 1. This fragment was found in the same location (PV 48-352:1, corridor A, layer A, e.g. upper 1m of fill) as the hollow P440 and P442. According to Burger (personal communication) “the context of the figurines found at Cardal varies. Many of them come from refuse in the household area ...but some come from the refuse found on the top of the pyramid. We have excavated about 20 burials and none contained figurines.” Some Lurín figurines show a certain resemblance with Ancón figurines (P440, P441 with 2308/Pl.4 (sg.1.1, atypical), P443 with 668/Pl.5 (sg. 1.4). Scheele (1970: 82,161ff) attributes P440, P442 and P443, found in one stratum at Cardal, to a pre-Yanamanca style, which would date them to before the beginning of the Ancón sequence (see Patterson 1971 in chronology, above). But in view of the similarity with Ancón specimens and considering that Cardal was more or less abandoned around 700 BC (Burger 1992:184-185), the figurines could be contemporary with Ancón phases 1-3, e.g. Initial Period to EH 4. The similarity of P443 with 667 from Curayacu also shows that they must at least predate the end of phase 4, when Curayacu was abandoned.

3. CURAYACU Table 2 Plate 5 Sample: 1 figurine and 4 figurine fragments (examined the complete figurine) Measurements: See Table DESCRIPTION

667: Naturalistic standing figurine with near normal proportions. Head, with high, rounded crown. The incised hair has a central parting, a short fringe over the forehead, hanks hanging over the shoulders and descending to the middle of the back. The face has modelled brows with wrinkles between them and high cheek-bones. The eyes are semi-circular, with modelled lids; the eyeballs have a roughened surface, the pupils are small punctations. The straight nose has punctated nostrils (placed below it!) and modelled/incised alae. The incised mouth is open, Fig. 2 : 667 curving downwards at the corners, but there are no lips. The ears are naturalistic, with perforations (air-holes). In profile the head is flattened (fronto-occipital deformation). The body is very long and narrow, with small angular shoulders, a modelled thoracic cage and straight sides tapering towards the legs. The arms are long and thin, placed along the sides of the body; the hands—modelled, with five incised fingers, the thumb clearly shown—rest on the lower abdomen. The legs are very short, the small rounded feet, protruding at the front, sides and back are partly restored. The groin is modelled, but genitals as such are not indicated, though the figure clearly represents a woman;

Another small head fragment from Malpaso (Scheele 1970:Pl.27, lower left) is not included in this study.

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there are small nipples and an umbilicus. In profile the back appears flat and straight; showing only the incised hair and the modelling of the arms. P445: Body fragment, showing one arm folded over the abdomen, and possibly a modelled groin? Some incisions low down could indicate toes? Appliquéd filet in the lower back. P446: Fragment of a head and shoulders; flat crown with incised hair, showing a central parting and hanks hanging down over the shoulders. Modelled eye-brows, narrow incised eyes with small punctated pupils; large nose with nostrils (and alae?), straight incised mouth. No data about the ears, profile and back. Short neck, narrow shoulders. P447: Head fragment with rounded crown, modelled eye-brows (eyes not clearly visible), large nose with nostrils and alae, incised mouth with modelled lips. No data about the ears, profile and back or the appendage below the neck. P448: Head fragment with head-dress? Eye-brows, narrow slanting incised eyes with punctated pupils. The nose and mouth are damaged, but nostrils are visible. No other data. Manufacture: All the figurines are hand-made, though Engel (1956:105) suggests that 667 might have been molded. This large, hollow figurine has no less than eight air-holes! The dark orange, highly polished ware appears slipped. Engel suggests that the hair is painted black, but I think that this is the result of patchy firing, like other marks visible in the back. P445 is made of buff ware and could be hollow; P446, P447, P448 are probably solid. P446 is made of black ware, with red and white—probably post-fired—paint filling the incisions; P448 has red post-fired paint; P447 is made of plain red ware. DISCUSSION

The Curayacu site is a rocky peninsula, with extensive shell middens, situated near the village of San Bartolo, circa 50 km south of Lima. F. Engel excavated at the site in 1955 and encountered various occupation levels: a Late Horizon occupation, possibly some Middle Horizon occupation and—without a marked interruption between the strata—a prolonged Formative occupation, with two phases belonging to the Early Formative or Initial Period, and two later Chavinoïd (Middle Formative or Early Horizon) phases (Engel 1956; see above chronology). Engel mentions “numerous fragments of quite small anthropomorphic figurines, five to ten centimetres high”, but illustrates only five, all said to come from the Chavinoïd level. Two of them (667, P446) are clearly related to contemporary figurines from Ancón and the Lurín valley. 667, one of the most remarkable figurines ever found in Peru, has a hairstyle reminiscent of- and a body and posture like 668 (Ancón sg. 1.4) and facial traits similar to P443 from Cardal. P446 has a similar hairstyle as 667 and 668, as well as narrow slanting eyes like Ancón sg. 1.3 figurines. It is likely that 667 and P446 represent females, although Engel (1956: caption to fig. 9A) describes P446 as a male. Curiously, he sees P448 as a “face sculpted on the chest of a male figurine” (1956: caption to fig. 9F), perhaps interpreting the lateral projections on the head or headdress as arm stumps and the shoulders as hips? The manufacture also recalls Ancón figurines: P446, P448 have paint, probably post-fired, filling the incised decor. 667 is hollow, with one air-hole—amongst others—at the anus, like 668 (Ancón sg. 1.4). Engel (1956:105) suggests that 667 might be mold-made: it did not appear so to me and there are no other known mold-made specimens on the Central Coast before the Middle Horizon, but the suggestion cannot be rejected out of hand. As for the other two figurines, P445 and P447, there is nothing immediately comparable, but this may also be due to the small size of the fragments and the quality of the photographs. At a glance, I would have said that P445, with its cylindrical body, is related a KotoshHigueras figurine (Izumi and Sono 1963:Pl.152-1) 1 which has a similar body and appliquéd arms. There are no figurines reminiscent of P447.

1

See Vol. III, Pl.62: P275. 45

Engel says that the figurine fragments were found in “refuse”. Unfortunately no details are given for the provenance of 667. The chronological position of 667, P446 and P448 should be derived from the similarities with Ancón and Lurín figurines (see above). However, if—as stipulated by Patterson (1971)— the Formative settlement at Curayacu was abandoned at the end of phase 4, then some of the related Ancón figurines should also be somewhat earlier. The similarity with the Shillacoto figurine (see above) also argues for an earlier dating, unless, of course, Curayacu was occupied beyond phase 4? We shall have to wait for a thorough reappraisal of the material from Rosas’ excavation to date the Middle Formative figurines with certainty. THE FIGURINES OF THE EARLY AND MIDDLE FORMATIVE: SYNOPSIS

At present a gap seems to exist in the figurine production on the Central Coast of Peru, between the Preceramic Period (see Chapter 1), and the Middle Formative, with only a few specimens recorded during the Early Formative (Initial Period). The few Early Formative specimens come from the Rimac valley: one from Quebrada Canto Grande, one from Huachipa and probably a number from Garagay (apart from the plaster specimens described above), but which have not been published. This gap may be due to the archaeological record rather than to the actual state of affairs, though Initial Period figurines are also relatively rare in other areas. With the Middle Formative or Early Horizon we witness a marked increase in figurine finds. The majority are obviously related, with typical incised features, especially incised hair, some of them showing a high degree of sophistication. They appear on the Central Coast at the same time as Chavín influences are making themselves felt. Although one cannot speak of a specific connection—since pottery figurines are not found at Chavín de Huántar itself— Middle Formative figurines also occur on the North Coast, especially at Tembladera, and in the Highlands (Pacopampa, Kuntur Wasi, Kotosh, Marcavalle), though not on the South Coast, where they appear somewhat later (Paracas/Ocucaje) 1. Because of the nature of the excavations—small scale and mostly in disturbed areas—the context of the figurines and their function cannot be ascertained. The majority appear to come from domestic refuse rather than from graves. The fish-like shape of many Ancón specimens may point to a marine cult, within which the figurines could have functioned as offerings to ensure a rich catch, as can be expected from a population with a subsistence largely based on marine resources. As for the splendid figure from Curayacu, it remains quite unique: not until the Late Intermediate Period Chancay culture do we see figures of such size, whilst the quality of the iconography and manufacture remains unsurpassed.

1

The Highland and South Coast figurines are published in Vol. III. 46

CHAPTER 3

THE EPIFORMATIVE (LATE FORMATIVE AND EARLY EIP) ON THE CENTRAL COAST INTRODUCTION

The end of the Formative sees a profound transformation in all aspects life and in all areas of Peru. With the gradual abandonment of the large ceremonial centres appear new technologies in ceramics, metallurgy, textiles, architecture and spatial organisation, as well as an increase of maize production and camelid herding (Burger 1992; Makowski et al. 2012). The transition between the Formative and the EIP—fairly well documented for the chronological master sequence at Ica—cannot be as clearly defined on the Central Coast. This time-span fits better into Period 10 of the chronological sequence proposed by Macneish, Patterson and Browman (1971:47), though I would place its beginning marginally later. Important stylistic changes mark the end of the Middle Formative (Early Horizon) Chavín predominance in the area. Some ceramic assemblages now show a strong influence from the South Coast Topara ceramic tradition (Jahuay phases 1-3) and late Ocucaje (phases 9 and 10), whilst the modelling shows North Coast impulses. Simultaneously or marginally later we see the appearance of what has been called the "White-on-Red Horizon" (Willey 1943a, 1948). “Horizon”, because it manifests itself in a number of related ceramic styles—each with strong local components—from Vicús, Puerto Moorín/Salinar, and Gallinazo/Virú on the North Coast, via Baños de Boza, Miramar, Huachipa/Jicamarca-Villa El Salvador-Tablada de Lurín on the Central Coast, to Topara and Jahuay-Chongos on the South Coast, as well as Kotosh-Higueras, Huaraz and Cochachongos in the North and Central Highlands 1 (Lumbreras 1974: 85f; Stothert 1980: 290, 291; Silva et al. 1982:66; and see below). The obvious similarities between these various ceramic styles are probably due to an increase in inter-regional contact, which can be witnessed at the time. According to Lumbreras ."..the Upper Formative complexes posses widespread similarities even though strong cultural integration did not exist. A good example is the so-called “Whiteon-Red” stylistic horizon, a technique of pottery decoration that links widely separated regions" (1974:81). As we see, Lumbreras still placed the "White-on-Red" phenomenon at the end of the Formative, but it is now generally accepted that it straddles the divide between the Formative and the EIP. This is why the name of "Epiformative" coined by Kaulicke (1994a) is so apposite 2. Since Patterson (1966) defined the Miramar style, which has been called the White-onRed style of the Ancón area 3, much new material has come to light on the Central Coast, particularly in the Rimac and Lurín valleys. We now see a fairly homogenous ceramic complex or style, extending from Chancay to Chilca and preceding the Lima style on the Central Coast. Although one of the Miramar style's main component is the White-on-Red style, it is not the only one, so it would be confusing to give it that name 4. The name Miramar would be equally unsuitable, since that style lacks some characteristic components, notably— See relevant chapters in Morgan 2009 and 2012; for an overview of Red-on-White on the Central Coast see Córdova Conza 2003a; for a pan-Peruvian overview see Makowski et al., 2012: 18ff. 2 See above, The Chronological Frame. 3 Only phases 1 and 2 of Patterson’s Miramar style belong to the White-on-Red Horizon. 4 According to J. Palacios (pers. com.) this is actually the name now (2013) given to the style. 1

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so far—figurines. So for the time being the complex, which anyhow lacks the iconographic cohesion of a ceramic "style" will have to remain nameless. The chronological position of this complex on the Central Coast is not quite clear. Whilst Patterson (1966) assigns Miramar to the first four phases of the Early Intermediate Period, Lumbreras (1974a) includes White-on-Red styles like Baños de Boza, in the Upper Formative. In later studies (Stothert 1980; Silva et al. 1982; Palacios 1988; Cárdenas 1999; Cordova C. 2003a, 2003b, 2009; Makowski et al. 2012) several related assemblages straddle the Formative/Early Intermediate Period divide. The cross-dating of these groups to Late Formative and early EIP phases on the South Coast is convincing, but further studies will be necessary to determine their precise chronological position. The chronological framework for this period is set out in the chronological chart 2.1. This chart—originally drawn up in 1994—combines the sequence established by Patterson for the EIP in the Ancón area (1966) with assemblages from excavations containing figurines (Cerro Trinidad, Pachacamac), which were partly cross-dated by Patterson (1966:122-124, 130) and other ceramic groups, which have come to light since Patterson's study (Puruchuco, Huachipa, Tablada de Lurín, Villa El Salvador, Lapa Lapa) and which were cross-dated by Stothert (1980) and Silva et al. (1982). Finally some adjustments derive directly from the study of the figurines. As there is considerable confusion in older publications, with different names used to designate similar assemblages or the same name given to ceramic groups widely distant in time, Chronological Chart 2.2 presents a synopsis—by authors—of various Central Coast ceramic groups, from the Upper Formative to the Middle Horizon. The names of the assemblages or styles in italics are those given in the original publication. The chronological position is based on the comparative analysis of Patterson (1966:5, 34-36, 98-103) for the Early Intermediate Period and Menzel (1964) for the Middle Horizon. As far as possible the comments below have been updated; they can be cross-checked with a more recent study (Córdova 2003a) covering roughly the same ground. A recently published chronological chart covering the same assemblages (Jimenez 2009: Gráfico No.1) confirms their validity. The Chronology of the Epiformative (Late Formative or Early Horizon Epochs 9, 10 and Early Intermediate Period Epochs 1-3/4): Explanatory notes to Chart 2.1 Column 1: Absolute chronology This is a rough guideline based on a number of publications (Willey 1971, Lumbreras 1974, Menzel 1977 and others). For these authors the EIP starts somewhere between 200 BC and the beginning of our era and is followed by the Middle Horizon, from circa 550-600 AD to 900 or 1000 AD. Column 2: Relative chronology The subdivisions are based on Rowe’s master chronology, as applied by Patterson 1966 and Menzel 1964. Column 3: Uhle’s excavations at Cerro Trinidad Site E, Chancay Valley (Kroeber 1926b); Willey’s excavations at Cerro Trinidad and Baños de Boza, Chancay Valley (Willey 1943a): Cerro Trinidad is located just south of the town of Chancay; Site E, first excavated by Uhle in 1904, yielded Lima sherds above White-on-Red ceramics (Uhle 1910). The material, deposited at the Hearst Museum, Berkeley, was analysed by Kroeber (1926b). Puzzled by some of Uhle's data (notably White-on-Red vessels allegedly found in Lima-style burials) Willey excavated several test-pits at Site E during 1941, establishing the following stratigraphy (1943a:175-6): • White-on-Red period, with White-decorated and White-zoned pottery. • Intermediate period, between White-on-Red and Interlocking (i.e. Lima): Whitedecorated pottery on the decline, White-zoned increasing. • Interlocking (i.e. Lima) period (see below, chapter 4).

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The lower levels at Cerro Trinidad Site E cross-date with Baños de Boza (Willey 1943a:187)—a site which yielded no figurines—which in turn cross-dates with Villa El Salvador (Stothert 1980). All three sites share some architectural features as well. Stothert (1980) dates Baños de Boza to EIP 1-2, but the similarities with Huachipa and Tablada, as well as late Ancón, could indicate that its beginnings are somewhat earlier, a view shared by Lumbreras (1974:83). Because the site represents a single occupation phase, the name Baños de Boza is often used for the White-on-Red style of the Central Coast. Column 4: Patterson’s (1966) Miramar style at Ancón The style and three of its four phases (Base Aerea, Polvorín, Urbanización) are named after sites around the bay of Ancón. Patterson's material, based on surface finds only, includes no figurines. Only the two first phases date to the White-on-Red tradition; Patterson (1966:533) dates the whole style to EIP 1-4. Column 5: Palacios (1988): Reconnaissance and surface collections at Huachipa-Jicamarca, Rimac Valley. For the location and early chronology of Huachipa see chapter 2 and chart 1. As we have seen, Palacios (1988) revises Silva’s earlier chronology. For the period with which we are dealing here Palacios (1988 and personal communication) replaces Silva's Jicamarca phase C, which shows strong influences from the South Coast Topara tradition and which Silva dates to the late Formative, with the Cerro and Pinazo phases, whilst Silva’s phase D—said to represent the White-on-Red tradition—becomes the newly defined Huayco phase, which should date to phases 1-2 of the EIP, but appears to start later and last longer. In reality, as the material shows, it is the Pinazo phase which is contemporary with White-on-red assemblages, the Huayco phase extending beyond (EIP 3/4 or even later?). The length and exact chronological position of Palacios' phases is still open to discussion. Column 6: Stothert (1980): Villa El Salvador and Paredes (1986): El Panel, Tablada de Lurín 1 The two sites are located at about 1 km distance from each other, on a large hilly area separating the Lurín from the Rimac valley. Pachacamac lies 1.5 km south of El Panel. Villa El Salvador consists of architectural remains, possibly of an elite building, later used as a cemetery (Stothert and Ravines 1977; Stothert 1980;); El Panel is a cemetery of the same culture (Paredes 1986). No figurines were found in these sites, which is surprising because modelled vessels (depicting animals and some humans) are quite common: these share a number of traits with vessels and figurines from the other sites listed here and have proved useful for cross-dating. The two phases of Villa El Salvador span the very end of the Formative and EIP 1/2. Column 7: Cardenas (1981, 1999); Makowski (2009a, 2009b); Makowski et al., (2012): Necrópolis de la Tablada de Lurín Tablada de Lurín lies a few kilometres from the mouth of the valley, on a plateau between 200 and 300 m.a.s.l. Interestingly there are no domestic settlements in the immediate area: the site was used exclusively as a necropolis by the inhabitants of various settlements dotted in the lower Lurín valley. Discovered in 1957 by the late Josefina Ramos de Cox, the site was excavated between the late 1950s and the late 1980s by the Instituto Riva Agüero (Instituto Riva Agüero 1960: 251-252); further excavations, between 1991-2002, were carried out by the Proyecto Arqueológico-Taller de Campo "Lomas de Lurín" under the aegis of the PCUP, constantly trying to keep abreast of the urban spread in the area. During the 45 years of uninterrupted excavations 856 single burials and multiple pit burials (entierros en pozo), as well as 35 cist burials (underground burial chambers) have been excavated, still only representing 3.13% of the total estimated burial area. The incomparable value of the site comes from the fact that it had not been plundered by huaqueros, so that the graves were intact and the burial history, including secondary burials and grave-goods, could be For more recent publications on the two sites see Delgado 2007 (Villa El Salvador); Maguiña and Paredes 2009 (El Panel).

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documented; but on the downside the preservation of organic materials is very poor. There have also been—over the years—considerable changes in the excavation and dating techniques. Makowski et al. (2012:15-16) lists some of the shortcomings of the earlier excavations, leading to various erroneous interpretations, which it was possible to rectify later. According to Cárdenas (1981, 1999) two distinct phases of occupation were recorded here, an earlier preceramic one (Tablada I) and a later one, consisting of two sub-phases (Tablada II, III) spanning the Upper Formative and the beginning of the EIP. According to Makowski et al., (2012:17ff.) all the pit burials are contemporary, whilst the stone-lined burial chambers are of a marginally later date. On the basis of extremely detailed comparisons with similar ceramic styles on the Central and South Coasts, and in the Highlands, and some difficult C14 dating, Makowski et al. (2012:17-21) dates the pit burials from 200 BC to 200 AD, whilst the slightly later cist burials definitely predate Patterson's (1966) Lima 3-4, i.e. circa 300 AD. Cárdenas (1999:173) dates phases II and III roughly from 300 BC to 300 AD. Doubtless the most valuable aspect of the excavations of such a large, undisturbed cemetery is the information regarding burial customs and how these reflect the beliefs, social structure, economic situation and every-day life of the local population. Thanks to the painstaking recording of the evidence, not only have these aspects been analysed in detail (see below: Context), but they are also available for wider-scale future research. Column 8: Strong and Corbett (1943): Pachacamac 1, Lurín valley. Ceramics dating to the Upper Formative/early EIP, such as White-on-Red, were found at Pachacamac in very small quantities (Strong and Corbett 1943: 88) and include one unpublished figurine fragment (1753/Pl.10/Epiformative). Column 9: Stothert (1980): Quebrada de Chilca: the Lapa Lapa ceramic group This small valley, some 70 km south of Lima, was studied by Engel in the early 1960s (Engel 1966b). He found a more or less continuous occupation, from the Preceramic to the present day. Late Formative/early EIP occupation was identified in the Lapa Lapa assemblage. On the basis of pottery from two Lapa Lapa sites shown her by Engel, Stothert (1980: 287) distinguishes two phases: an earlier one, with a White-on-Red component, contemporary with Baños de Boza and Villa El Salvador, and a slightly later one, dating to EIP 2. THE FIGURINES OF THE EPIFORMATIVE (LATE FORMATIVE TO EARLY EIP) Strictly speaking this sample does not constitute a group, because many traits are only shared indirectly, by linkage. But I believe that the resemblances and the well documented provenances of the specimens, showing them to be roughly contemporary, justify treating them as a unit. Table 3 Plates 6-10 Sample: 60 Figurines: 25 complete, 35 figurine fragments + 2 atypical (examined: 37) Measurements 2: Maximum Minimum Median Rimac Valley: Huallamarca, Huachipa Height (9) 24.0 cm 3.4 cm 12.5 cm Width (7) 7.4 cm 1.9 cm 5.4 cm Thickness (7) 5.7 cm 1.2 cm 3.9 cm Weight (3) 115 gr. 45 gr. 80 gr. Tablada de Lurín Height (11) 24.7 cm 7.1 cm 14.8 cm Width (7) 11.8 cm 4.5 cm 8.5 cm Thickness (9) 7.6 cm 2.0 cm 5.2 cm Weight (3) 365 gr. 40 gr. 250 gr. 1 2

For a description of the site see Appendix 1. There are no complete figurines from sites other than Huallamarca, Huachipa and Tablada de Lurín. 50

GROUP CHARACTERISTICS

The characteristics are mainly based on two large units: the figurines found in Huachipa and those excavated at Tablada de Lurín, though features on specimens from other sites are also described. Mostly highly stylized (exceptions: the life-like 803, 806/Pl.9 from Tablada), standing, small to middle-sized figurines. In the majority of the 25 complete specimens, the head measures about one third of the total height and is often the widest part of the figurine. The crown can be rounded (e.g. P452/Pl.6, 812/Pl.7-Huachipa), most commonly straight (e.g. 816, P456/Pl.7-Huachipa), more rarely slightly depressed in the middle (e.g. C118/Pl.10-Tablada); on some specimens the nose protrudes above the crown (e.g. 802, 807/Pl.9-Tablada). In profile the back of the head is mostly flattened to some degree (fronto-occipital deformation) and can be bent backwards and upwards (e.g. 808, 805/Pl.9-Tablada). The face can be square, with normal proportions (e.g. P459, P460/Pl.7-Huachipa), foreshortened and wide (e.g. 1122/Pl.8) to elongated (818, 1118/Pl.8-Huachipa). There is little or no modelling of the forehead or the cheeks. Facial markings occur but are rare: incised or punctated on P451, P452, 811/Pl.6, 2220/Pl.7-Huachipa-Cerro phase and 1122, P463, P464/Pl.8-Huayco phase; 807Pl.9, C120 1/Pl.10-Tablada; painted tear marks on Tablada 803/Pl.9. Note also diagonal painted lines on cheeks of 2141/Pl.6-Cerro Trinidad. The chin can be totally absent (e.g. 812/Pl.7-Huachipa-Pinazo phase) but is more often shown, either as a small protuberance (e.g. 809/Pl.8-Huachipa-Pinazo), or fully formed, even jutting (e.g. 1119/Pl.8-Huachipa-Pinazo, Tablada 808/Pl.9, C117, C119/Pl.10). The most common type of eye consists of an elliptic depression which has been entirely filled by an inset piece of clay, with a central punctation marking the pupil (e.g. 2136a/Pl.6Cerro Trinidad, 2220, 814, 816, P460/Pl.7, 1119/Pl.8 etc.-Huachipa-mainly Pinazo phase; 808, 804, 803/Pl.9, C117, C118 etc/Pl.10-Tablada). In a similar but less frequent type, the eye-socket is a very long, narrow incision into which is inset a spherical clay pellet, with central punctation (e.g. 2141, 2140, P450/Pl.6-Cerro Trinidad; 1113/Pl.6-Puruchuco, with modelled lid; 802, 803, 806/Pl.9-Tablada; 1753/Pl.10-Pachacamac; P466/Pl.10-Chilca). Other eye forms are: short or elongated incisions, sometime with central punctation (e.g. 811/Pl.6Huachipa-Late Cerro) and/or with slightly raised lids (e.g. 1122, P463, 1071/Pl. 8-Huachipamainly Huayco phase; 805/Pl. 9-Tablada); circular incisions (1121, 813/Pl.7-Huachipa, with central depression); punctations: 807/Pl.7-Tablada with a central punctation for the pupils and punctations outlining the lids; note also 1109/Pl.6-Puruchuco, with several irregular punctations marking the eyes. Appliquéd eyes occur at Huallamarca (2217, 2329/Pl.6, round) and Puruchuco (2327/Pl.6, coffee-bean). Eyebrows: are never shown (exception 1113/Pl.6Puruchuco). The nose is generally important, especially in the Huachipa sample. It can be rooted high on the forehead (e.g. 1117, 812/Pl.7, 1122, 815/Pl.8-Huachipa-all phases; 802, 807/Pl.9, C121/Pl.10-Tablada; note also 2141, 2140/Pl.6-Cerro Trinidad; 1753/Pl.10Pachacamac). Shapes vary considerably from straight (e.g. 1113/Pl.6-Puruchuco; Tablada 803, 806/Pl.7) to hooked and very large (1123, 1119, 1122/Pl.8-Huachipa Pinazo and Huayco). Nostrils are always shown, but modelled alae are rare (1113/Pl.6-Puruchuco; 1123,1119/Pl.8-Huachipa Pinazo; 803, 806/Pl.9-Tablada). The mouth is mostly only a straight deep incision, varying in length; 1071/Pl.8-Huachipa Huayco, 806/Pl.9 C117/Pl.10-Tablada have two deep punctations, applied laterally; 1122/Huachipa-Huayco has raised lips. Note also the appliquéd mouth on 2217/Pl.6-Huallamarca, 2327/Pl.6-Puruchuco. A few specimens have teeth: incised (811/PL.6-Huachipa Cerro; P466/Pl.10-Chilca) or appliquéd clay pellets (Puruchuco 1114/Pl.6). Ears as such are not shown: semi-circular protuberances, some with incisions, probably representing ear-plugs, occur on 2136b/Pl.6-Cerro Trinidad; P451/Pl.6-, Huachipa-Cerro, 1121 and 816/Pl.7-Pinazo, C118/Pl.10-Tablada and P466/Pl.10-Chilca; the head occasionally widens at the sides to indicate ears (e.g. 811/Pl.6, 2220/Pl.7, 814/Pl.7Huachipa, various phases; 804, 802, 806, 805/Pl.9, C121/Pl.10-Tablada). Many specimens have lateral "panels" at the sides of the face, often with incisions, probably part of a hair-style 1

This feature is not clearly visible on the photograph of C120 (Plate 10) 51

or headdress, covering the ears (e.g. 2136a/Pl.6-Cerro Trinidad; P459, P460, 812/Pl.7, 819, P453,1120/Pl.8–Huachipa all phases; 808, 803/Pl.9, C117, C119/Pl.10-Tablada; 1753/Pl.10Pachacamac). 2141/Pl.6-Cerro Trinidad, 807/Pl.9-Tablada, and 1753/Pl.10-Pachacamac have vertical incisions across the top and/or the back of the head, which probably represent hair; 1109/Pl.6-Puruchuco has a short parallel vertical incisions intersected by three horizontal ones at the back of the head, representing a hair-style or headdress. The neck, where preserved, is generally indicated by some form of separation between the head and the body, (e.g. 1117/Pl.7-Huachipa), but is often totally absent (e.g. 812Pl.7, 818, 1071, 815/Pl.8-Huachipa, 807/Pl. 9-Tablada. There are only 24 bodies, some of them incomplete, in the sample. The Huachipa bodies differ in size (cf. 813/Pl.7 with 816/Pl.7), cylindrical, with a straight or slightly convex lateral outline, tapering downwards, and a convex profile. The Tablada figurines are marginally more elongated, less tapering (except 807/Pl.9, C117/Pl.10); some, though not all, have a slightly flatter profile (e.g. 802, 803/Pl.9, C118/Pl.10). Five Huachipa figurines have short appliquéd arms, either folded over the chest (813/Pl.7, P453/Pl.9: hands only, 1071/Pl.9), folded upwards (P465/Pl.8), or extended downwards(815/Pl.8, C118, C119/Pl.10). Three specimens (2220, 816, P456/Pl.7) have short stumps extended sideways; 814, 812/Pl.7 have no arms. All the Tablada specimens have arms (or short stumps): extended forward (808, 804, 803?, 806/Pl.7; C117, C120/Pl.10: hands only) or folded over the chest (C118, C119/Pl.10); 805, 807/Pl.9 and C121/Pl.10 have lugs in lieu of arms. 2329/Pl.6-Huallamarca has folded arms, P466/Pl.10-Chilca has extended arms. Hands, only shown by three or four incisions for the fingers, occur on P453, 1071, P465, 815/Pl.8-Huachipa; on Tablada figurines, where a number of arms are broken, four specimens show hands : 804/Pl.9 has an elaborate semi-spherical right hand (the left is broken), with four triangular pointed appliquéd fingers (one now missing) and thumb, holding a bowl; C117/Pl.10 with five incised fingers, C118/Pl.10 with traces of modelling and four fingers; C119/Pl.10 has peculiar, pincer-like, modelled hands with only two fingers. Legs: In Huachipa legs are generally only indicated by a slight dip and/or small stumps (e.g. 813, 812/Pl.7, P453, 1071/Pl.8) and are rarely slightly longer (2220/Pl.7, P465/Pl.8). At Tablada, some specimens have very short stumps (807/Pl.9, C117, C118/Pl.10), but others are slightly longer (e.g. 803, 806/Pl.9, C121/Pl.10); no legs on P120/Pl.10. Feet are never indicated (exceptions: 2220/Pl.7-Huachipa: large feet and prominent ankle-bones, C119/Pl.10-Tablada: projecting flat feet in lieu of stumps, C121/Pl.10: small round feet). Genitals are only shown on C119/Pl.10-Tablada as two parallel incisions indicating the female vulva; 2217/Pl.6-Huallamarca has a raised genital area. Breasts: 819, 818, 809/Pl.8-Huachipa and C118, C119/Pl.10-Tablada have small appliquéd breasts, all except C119 with punctated nipples. The umbilicus is only shown on 2217/Pl.6Huallamarca. The back is generally featureless, except for the hair (see above), head-dress, necklace (see below). Clothing, accessories: Most figurines feature some ornamentation on their heads. Incised lines or gauges on the top of the head and/or framing the face (e.g. Cerro Trinidad 2141/Pl.6, Huachipa P460/Pl.7, 1120/Pl.8, Tablada 808/Pl.9, C1117/Pl.10, Pachacamac 1753/Pl.10) probably depict hair. Headgear is either modelled as part of the head, or more often appliquéd low above the eyes (e.g. Huachipa 1118, 1119/Pl.8, Tablada 803, 806/Pl.9); the headgear can be decorated with a row of holes along the top of the head (e.g. Huachipa P454, P458/Pl.7, 1122/Pl.8); Tablada 803/Pl.9 shows traces of two parallel appliquéd appendages at the back of the head. A turban with lateral knot is worn by Huachipa P451/Pl.6; the Chilca figurine (P466/Pl.10) wears a turban in the shape of an animal head (Engel 1966b: caption to fig.33). No clothing or body paint is shown, except for traces of white paint on Huachipa 2220/Pl.7. Tablada 806/Pl.9 and Chilca P466/Pl.10 wear an identical appliquéd necklace, probably representing small shells—also visible at the back on 806—with a central rectangular bone or shell pendant, P466/Pl.10 also shows a painted bracelet; Tablada 803/Pl.9 wears a necklace indicated by vertical incisions. Tablada 804/Pl.9 holds a concave object (a bowl?) in its right hand.

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Manufacture All the figurines are hand-made, with appliquéd or incised, more rarely painted, decor. The great majority are hollow. Only three early figurines from Huachipa/Cerro phase (P451, P452, 2220), one from Puruchuco (1109) and the atypical late one from Cerro Trinidad (2139) are solid. Where ascertainable, there are generally two large air-holes at the sides, either behind the upper arms or at shoulder- or waist level. Huachipa 811/Pl.6 and Tablada 805/Pl.9 have an air-hole on the top of the head, Tablada 807/Pl.9 has one large air-hole in the middle of the back, as well as the two lateral holes, Tablada C121/Pl.10 has one large opening in the back, above the neck. The Cerro Trinidad figurines are made of medium coarse, oxidized ware; 2141 has a painted white-on-red decor, 2140 traces of a thin buff slip; The Puruchuco and Huachipa figurines are generally made of a coarse to medium-grained oxidized ware; the surface is only lightly smoothed, mostly terracotta, sometimes buff in colour. Only four or five specimens show traces of a self-slip. Three or four Huachipa figurines have faint traces of a white decor. At Tablada we find very coarse but also finer oxidized ware; many specimens are burnished, 803 and 806 are burnished and slipped (except for the face), one orange, the other cream, 803 also has painted tear marks: according to Makowski et al., 808 (2012: Fig. 13d) belongs to the Pinazo-early Huayco style of Huachipa, whilst 803, 806 (2012: Fig. 13b, 13f 1) are imitations of the same style: they are found in more important contexts and probably want to boast of wider contacts (ibid., p. 42). The Pachacamac fragment is made of pale orange ware, medium grained, but with abundant tempering; the surface is smoothed but not slipped. P466 from Chilca is said to have post-fired red decor (Engel 1966b:fig.33), but Stothert (1980:287) thinks it is a fired pigment. Atypical 2139: (Cerro Trinidad). Small coarsely made figurine, sharing no features with the other specimens. The head has a rounded crown and is flat in profile, no facial features. The body has lateral protuberances (arms?), short separate legs, large breasts ?, with two additional similar protuberances below the abdomen, but no genitals. There is a large conical projection in the middle of the back. Solid, with a white slip and large greyish black dots all over the body, but unlike the later Chancay black-on-white. 810: (Huachipa, Middle Cerro phase). Standing figurine, the lower part broken off. Conical head slightly flattened in profile. The face widens towards the shoulders (no neck); the cheeks are decorated with incised rectangles and dots. Two diagonal incisions above represent the eyes, the straight nose with punctated nostrils starts high on the forehead, the mouth has thick appliquéd lips; The elongated body with rounded shoulders tapers towards legs or a base (now broken). The appliquéd arms are folded upwards on the chest, ending in hands with four incised fingers; no breasts or genitals. The featureless back is slightly flattened. The figurine is hand-made, hollow, with one large air-hole on top of the head and two air-holes at neck level; two further holes at the shoulders (not air-holes) go from front to back. The paste is quite fine, with sand temper; the burnished surface is grey-black, the incisions on the cheeks are filled with red and orange resinous, probably post-fired paint. DISCUSSION

Special features/ Links with other groups The majority of figurines appear to show a fronto-occipital cranial deformation: this deformation is actually recorded on 53.48% of the skulls from the IRA excavations at Tablada, based on a sample of 86 skulls (Vivár Anaya 1999: 5); interestingly another 31.4% show an asymmetric deformation probably resulting from a faulty use of the deformation apparatus. Cranial deformation is a permanent feature on Central Coast figurines 2, with the exception of a few Middle Horizon specimens (e.g. Early MH Gr. 2/Pl.16). 11 In the caption to Fig. 13f. the wrong number (00189- Grave 199) is given for the figurine; the correct number (01735 – Grave 258) is shown under the actual picture. 2 See note in Chapter 2, Special Features, Cranial Deformation.

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The inset pellet eyes (with small central punctation for the pupils) are shared by over 60% of the specimens. The technique varies slightly: at Huachipa and on some of the Tablada figurines the pellet fills the whole elliptic eye-socket, whereas some figurines from other sites also show narrow, elongated eye-sockets, into which a spherical pellet has been inserted. On one Puruchuco specimen (1113/Pl.6) the eyeball is inserted into raised appliquéd eyelids, as may be the case at Garagay. Eyes there are described as “...ojos en forma de protuberancias elipticas, delimitados mediante una incisión fina y con punto central". (Ravines et al.1982: 158). Puruchuco face-neck- or figurine fragments show that the different techniques can occur together at the same site and are probably contemporary (Fig.3: MSPuru n/n)). Similar eyes also feature on face-necks from Huachipa (Palacios 1988: fotos 9,10), Cerro Trinidad (Kroeber 1926b: Pl.89C, 90G 1; Willey 1943a: fig.9e) and Villa El Salvador (Stothert and Ravines 1977: Lám.6.3).They have no antecedents on the Fig.3 Central Coast, but a similar technique is common on somewhat earlier North Coast figurines (see Vol.1, Pl. 1: P1, from the Nepeña Valley, 887, 888, 888 from Cerro Sechín, Casma Valley and P2 from Las Haldas). One Huachipa figurine (1121/Pl.7-Transitional Cerro-Pinazo) has incised circular eyes, with central punctations. Similar eyes also occur on 2329/Pl.6 from Huallamarca, Puruchuco face-necks (Fig.4: MSPuru n/n) and are standard for animal representations at contemporary sites (Palacios 1988: fotos 11,12; Willey 1943a:fig.9j-l; Stothert and Ravines 1977:lám. 6.1,6.2; Strong and Corbett 1943:fig.19a,b,e). Incised circular eyes or circle-and-dot Fig.4 eyes also occur on North Coast Middle to Late Formative specimens (many unpublished, but see S33, a whistle and P18, an ocarina, both from Tembladera, Vol. I, Pl.3) as well as Epiformative figurines, like Gallinazo-Virú (see Vol. I, Pl. 5). This eye shape occurs again in later Central Coast groups (see Chapter 7: Late MH Group 3/Pl.30, and others). Appliquéd, rather than incised, circular eyes, occur on 2217 and 2340 from Huallamarca/Pl.6. Similar eyes occur occasionally, but notably on early Ychsma specimens from Huallamarca (see 2315, 2216, 2345/Pl.103). 2327/Pl.6-Puruchuco has a variant of coffee-bean eyes, whilst 1122/Pl.8 from HuachipaHuayco phase has raised eyelids cut by a horizontal incision. Both shapes are extremely common on North Coast Epiformative, like Gallinazo and Vicús (see Vol. I, Pls. 5, 7, 8), as well as the North Highlands (see P278, P280, 2187 from Kotosh Higueras, Vol.III, Pl.63); the incised raised eye-lid is common during the Late Formative of the South Coast on Paracas/Ocucaje and Chongos figurines (see sg.3.1, Vol.III, Pls 1,2) Eyes shown as circular clusters of punctations are unique to Puruchuco 1109/Pl.6. Tablada 807/Pl.9 has raised eyes, outlined by rows of punctations; a similar treatment occurs on an early EIP Gallinazo face-neck (Collier 1955:fig.26A). 1114 from Puruchuco/Pl.6, has appliquéd teeth, inserted in a gauged-out mouth cavity. A very similar treatment occurs on a face-neck (?) fragment from Puruchuco (Fig.5: MSPuru n/n) and Fig. 5 at Villa El Salvador (Stothert and Ravines 1977: Lám.7.3) The prominent nose, generally with incised nostrils, often rooted high on the forehead, sometimes protruding above the crown is shared with local contemporary depictions (see Kroeber assigns these specimens to the Interlocking (i.e. Lima) style, but this may not be correct (see Chapter 4, Chronology).

1

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Stothert 1980: fig.12A), as well figurines from the Epiformative of the North Coast (see Vol. I, Pls 5, 8-10), of the North Highlands (see 2187 from Kotosh Higueras, Vol.III, Pl.63) and the Central Highlands (P318, P320, etc. Usupuquio Phase, Vol.III, Pls. 68, 69). This type of nose is also typical for the Lima style (see Pl.11). Facial markings: Incised lines (P451, 811 and the atypical 810/Pl.6) occur on South Coast Formative figurines and face-necks (see Vol.III, Pls. 1, 2. Rows of punctations appear at Huachipa in the Cerro phase, continuing through Pinazo and Huayco (P452/Pl.6, 2220/Pl.7, 1122/Pl.8; P463). They also occur on Tablada figurines (807/Pl.9, C120/Pl.10 1) and on a contemporary (?) face-neck from Chancay (Kroeber 1926b:Pl.89C), on a Gallinazo face-neck (Collier 1955:fig.26A) and on a number of early MH Central Coast figurines (see 94, 1031, 227/Pl. 17). Lines painted diagonally under the eyes (Cerro Trinidad 2141/Pl.6) also occur on a face neck from Cerro Trinidad (Kroeber 1926b:Pl.90G). Painted tearlines (Tablada 803/Pl.9) are unique for this time, but become very common later, mainly during the Middle Horizon. The hollow, elongated body, tapering towards short stump-like legs, with large lateral air-holes is a clear break with the earlier local tradition (see chapter 2), but becomes more common later in the Lima/Maranga/Nieveria culture (see Pls.11, 13) and some early MH groups (see Pls. 16-19). There are strong parallels with the Epiformative on the North Coast (Gallinazo, Vicús: see Vol. I, Pls. 5,6,8,9). Although the sex is never indicated, three Huachipa and one Tablada specimens (819, 818, 809/Pl.8, C118/Pl.10) have small breasts with punctated nipples. I have not found these in other areas of Peru, except for a possibly earlier figurine from Lake Arapa (C119, Vol. III, Pl. 78) or a slightly later, though very similar figurine from Pumapuquio in the South Central Highlands (P408, Vol. III, Pl. 70). Punctated nipples become popular again on the Central Coast towards the end of the LIP, in late Chancay (e.g. 460, P521/Pl.67), Middle and Late Ychsma (e.g. 702, 704/Pl.103, 701, 1772/Pl.104, PV6/Pl.18) and during the Late Horizon (e.g. 860, 861, 278/Pl.114). 805, 807/Pl.9 and C121/Pl.10 from Tablada, have lug-like arms at waist level, reminiscent of contemporary jars (Stothert 1980:fig.7a-c). The pointed triangular fingers holding a bowl (Tablada 804/Pl.9) also occur on a White-on-red hand fragment from Cerro Trinidad (Willey: 1943a:161), on a face-neck from Villa El Salvador (Stothert and Ravines 1977: Lám.6.3) and on figurines of the same period from other areas (see Vol.I, Pl. 7: 683, 689/Gallinazo; Vol.III, Pl.3: 2104 Paracas/Ocucaje), all three latter examples also holding a bowl. The two pincerlike pointed fingers on Tablada C119/Pl.10 are unique. 2220/Pl.7 from Huachipa has prominent ankle-bones. An earlier Formative example occurs in the Lurín valley (see P440/Pl.5). Other contemporary examples are also known on the North Coast (see 683, Vol. I, Pl.7). Ankle-bones become very popular in Chancay. The headdress, with or without rows of incisions and/or holes has no known antecedents, but occurs on contemporary face-necks (Palacios 1988: fotos 9,10; Kroeber 1926b: Pl.90G). Incisions framing the face, probably representing hair (numerous Huachipa-Pinazo phase and Tablada 808/Pl.9, C117/Pl.10) have a surprising parallel in a figurine from the Sihuas valley in the extreme South (see Vol.III, Pl. 4: P388). The turbans worn by Huachipa P451/Pl.6 and Chilca P466/Pl.10 have South Coast parallels (see Vol. III, Pl.3: P143 Paracas/Ocucaje) . A necklace with large central shell pendant, as worn by Tablada 806/Pl.9 and by P466/Pl.10, the Lapa Lapa specimen from Chilca, is unique on the Central Coast, but becomes common on classic Nasca males (see Vol.III, Pls. 19, 20). The atypical Huachipa 810/Pl.6, with its conical head, elongated body, probably standing in short legs (now missing), short, folded appliquéd arms and especially its incised facial decor with post-fired red and orange paint is very closely related to South Coast Paracas/Ocucaje figurines (see Vol. III, Pls.1, 2).

1

The feature is not visible on the photograph on Plate 10. 55

What becomes extremely clear, when listing the various special features, is that the Central Coast Epiformative figurines, with their often somewhat coarse but highly stylized appearance mark a clear break with their Middle Formative (EH) predecessors. The phenomenon does not only occur on the Central Coast, but in all areas of the Peruvian Coast and Highlands, perhaps with the exception of the Southern Highlands, where no similar assemblage has come to light where earlier Formative Groups form the Cuzco area, such as Marcavalle and Chanapata, already have this stylized and relatively coarse look (see Vol. III, Pls. 76, 77). This spectacular change in the aspect of the figurines is a clear manifestation of what has been called the "White-on-Red Horizon". Context 2139, the atypical figurine from Cerro Trinidad, Chancay (Uhle's Site E) and all the 12 figurines from Tablada de Lurín were found in graves (see Appendix 3: Gravelots). Thanks to the painstaking excavations and statistical recording of contexts at Tablada de Lurín we have, for the first time a detailed insight into the burial customs of the time and are provided with rigorous statistics. To give some examples: for the 414 pit burials excavated by Cárdenas, we know the exact variations in depth of the pits (from 0.40 m to 3.50 m.), the number of burials (144 children in 131 pits, 290 adults in 234 burials, and 118 adults and children in 49 pits). We know that 298, i.e.72.5%, of the pits contained grave goods, 87% of these were ceramics. Not only are the pits, the cists (or stone chambers) and their contents, as well as their groupings in space described and illustrated, also recording changes in the burial customs over time, like single and multiple burials (one cist contained 55 individuals), frequent reburials and modifications, but on the base of such statistics, as well as the lay-out of the vast cemetery and comparisons with other cemeteries in the area, Makowski 2009a, 2009b; Makowski et al., (2012) was able to establish that—in spite of the lack of monumental architecture in the area—Tablada was the burial place for a "complex chiefdom" of agriculturalists and camelid herders who occupied the middle-Lurín valley; settlements nearer the coastal area did not have access to the burial ground. The sex-specific grave goods show us men as celebrants (oficiantes) and musicians and women-potters, a community engaged in hunting, warfare, textile- and fur production. The leading males were buried with their extended families, and children of more than one year were treated like adults (50 of the 130 children burials contained grave-goods, consisting of ceramics, metal objects, figurines, musical instruments and ornaments, such as necklaces). It is not possible to go into details here but Makowski (2010) compares the burials at Cerro Colorado on the Paracas peninsula with those, roughly contemporary, of Tablada, and clearly demonstrates that—in spite of the absence of textiles, who did not survive at Tablada—the tremendous efforts invested in the grave-goods of important individuals, to ensure the quality of their afterlife, were similar in both sites. As far as the 11 graves containing figurines are concerned: they are all pit-graves—rather than the marginally later cist-graves. Three of them contained adults only, one contained one adult and two infants – and also two figurines! – and seven contained infants ranging from six months to about seven years of age (see Appendix 3: Gravelots). The remaining figurines come from uncontrolled, mostly disturbed contexts. We therefore don’t know whether there has been a marked shift from figurines retrieved from a domestic context—most of the Formative figurines came from middens (see Chapter 2)—to figurines used as grave goods. Note that no figurines were found in the numerous graves excavated at Villa El Salvador (Stothert 1980) and El Panel (Paredes 1986), in spite of the obvious similarities with other contemporary assemblages. This is most striking when compared with Tablada, distant only 4 km. Makowski et al., (2012: 48ff) discuss at length the similarities and differences between these sites and come to the conclusion that the people buried at Tablada belonged to a different population, and were conscious of their difference. Ramos de Cox (1971) has suggested that the posture of figurines may indicate occupational distinctions. In specimens with arms extended forwards (Tablada 802, 803) she sees agriculturalists in an attitude of "receiving", in a figurine whose lower extremities

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resemble a fish-tail (Tablada 807) she sees a fisherman. Although such interpretative options must be explored, I feel that in this case the clues are too tenuous and contradicted by other evidence, showing that the Tablada population was not engaged in marine pursuits. Geographic distribution Central Coast sites, dating from the Late Formative to the early EIP, with related figurines, extend from the Chancay valley (Cerro Trinidad) in the North, via the Rimac Valley (Garagay, Huallamarca, Puruchuco, Huachipa), Lurín (Tablada, Pachacamac) to the Quebrada of Chilca in the South. The absence of this type in the Ancón area and the rarity in the Chillón Valley see below, Fig.6) probably reflects a gap in the archaeological record rather than ethnic or cultural diversity. The following Central Coast sites have yielded Epiformative figurines: • Cerro Trinidad, Chancay Valley is a large hill situated near the mouth of the Chancay V. and dividing it into two, forming the smaller Pasamayo V.: the township of Chancay is situated to the North. Uhle's Site E is situated on the south slopes of the Cerro Trinidad (Willey 1943a:130-131). It contained a large number of very disturbed, re-utilised and/or looted burials. A particularly striking phenomenon is that to Uhle it appeared that broken vessels of the Interlocking style had been re-utilised in burials by the "Red-on-White" people, who he assumed were later in time, whereas we now known that the actual cultural sequence is inversed (Kroeber 1926b: 283, 297). • A similar figurine fragment (see Fig. 6: Private collection) comes from Pancha Paula, near Puente Piedra, on the right bank of the lower Chillón Valley. It was excavated within a Miramar context, but J. Palacios (pers. comm.) who found it, believes it to be an import from the Rimac Valley. • Garagay, Rimac Valley: 81 fragments of figurines allegedly belonging to this style were retrieved at Garagay (Ravines et al 1982: 158), but were not available for this study (see above, Chapter 2). • Huaca Huallamarca or Pan de Azúcar, (Lima), Rimac Valley: See site description in Appendix 2. Fig. 6 • Huachipa, Rimac Valley: The site is a large plain, at the point where the Quebrada de Jicamarca joins the right bank of the Rimac, about 25 km. inland. Having been part of an hacienda, the site was later divided into smaller agricultural and domestic lots, some of them also used for the manufacture of bricks. In the mid 1970s, J. Palacios and colleagues started collecting material which had come to light during the brick working, later also attempting to outline cultural and chronological contexts (Palacios 1988:13, Silva and Garcia 1997).). • Puruchuco, Rimac Valley: well known as a large Inca site, now a museum. Dr. Jimenez Borja, who excavated the site, allowed me to record some Epiformative figurine- and face-neck fragments which had come to light at the back of the museum, after a small landslide (see also Chapter 10). • Necropolis de la Tablada de Lurín: See above, context. • Pachacamac, Lurín Valley: See site description in Appendix 2. • Quebrada de Chilca: Situated about 65 km. south of Lima in the Province of Cañete, it is an area rich in archaeological sites, dating from the Preceramic onwards. The late Formative and EIP site of Lapa Lapa, comprising a large pyramid and various habitational units, was only partly explored by F. Engel (1966b: 47-50). Chronology The chronological position of the assemblages has been outlined at the beginning of this chapter. Stothert's (1980) comparative dating is convincing, but she does not cover the Rimac Valley sites. The figurines fill this gap and allow to add certain precisions. The most detailed analysis to date of the chronological position of the Tablada cemetery and its relationship to other contemporary assemblages can be found in Makowski (2009a, 57

Makowski et al., (2012: 17-21, 37-42). Of the 12 figurines (seven excavated by the Instituto Riva Agüero, five by the Proyecto Tablada) Makowski et al., (2012: Figs. 13, 14) attributes the cruder specimens 802, 805, 807/Pl.9 to the Estilo Tablada Marrón, part of the Alfár 1; 808 is dated to Pinazo-Huayco Inicial, (in the Huachipa sequence), whilst the really sophisticated 803 and 806 said to be imitations of Pinazo-Huayco Inicial, actually belong to the Estilo Tablada anaranjado of the Alfár 3, a ceramic component quite rare at Tablada, and probably of foreign origin (ibid.: 41). Both types of ceramics are not dated more precisely. The fact that the Tablda marrón 805 was found in the same grave (no. 258) as the Tablada anaranjado 806, apparently dating to Pinazo-Huayco Inicial, is probably not chronologically determinating, considering the re-burials that took place at the site. No dates were provided for the five figurines excavated by the Proyecto Tablada (C117-C121), which, with the exception of C121, are fairly different from those dated above. For the dating of the Tablada cemetery as a whole see above, Chronology of the Epiformative. We also have an earlier but still valid stylistic sequence for Huachipa 1. Whilst one figurine (2309) is said to date to the Early Formative (see Chapter 2), the majority straddles the Formative/EIP divide, i.e. the Epiformative. The sequence starts with the atypical 810/Pl.6, recovered from a Middle Cerro context (EH 9-10): Palacios sees it as a possible import from the South Coast (1988: 24 and pers. com.), with some paracoid influences and contemporary with Ocucaje 9. There is no doubt that—with its conical head, its elongated body, presumably ending in short legs (now broken), short appliquéd arms and especially its incised facial decor inlaid with post-fired paint—it is very similar to Paracas/Ocucaje figurines (see Morgan 2012: Chapter 1, sg. 3.1) dating to Ocucaje 9-10. It is followed by Late Cerro figurines (P451, P452, 811/Pl.6, 2220/Pl.7): P451, a late Cerro specimen, with its turban knot and facial decor also looks suspiciously Paracas/Ocucaje, though it (and P452) are solid, unlike the South Coast figurines. 1121/Pl.7 classified by Palacios as transitional CerroPinazo, could actually be Pinazo or even later, because the circle-and-dot eye is an EIP 3/4 feature at Chancay (see below). The following Pinazo phase is characterised by the pellet eye and applied headgear, often with punched decoration (e.g. P459, P460/Pl.7 and many others): these features are all also present at Villa El Salvador (Stothert and Ravines 1977: Lám. 6.3). The Pinazo phase is contemporaneous with Villa El Salvador 1 and Baños de Boza (Late Formative to EIP 1/2). The following Huayco phase, with its narrow incised eyes, starts with 1122/Pl.8. It is not clear why Palacios should have assigned P462/Pl.8, with its pellet eyes and appliquéd headdress with punched decor to Early Huayco (1988: foto 16.1): it may have been found in such a context. 815/Pl.8, assigned to Huayco Medio, could well be later: the position of the arms announces late Lima or even early Middle Horizon figurines (cf 696/Pl.11, 2015, 512/Pl.13 and several on Pl.17). Huayco is coeval with Villa El Salvador 2 (EIP 3/4). The resemblance of the material from Puruchuco with that from Huachipa (pellet eyes, punched headgear) confirms the cross dating of the Rimac sites to Villa El Salvador. Note also the applied teeth (1114/Pl.6), very similar to an ocarina from Huachipa (Palacios 1988: foto 11) and a modelled vessel from Villa El Salvador (Stothert and Ravines 1977: lám.7.3). 1109 could be earlier (EH 10 to EIP 3). Pellet eyes, the punched headgear decor, circle-and-dot eyes etc., also show some Cerro Trinidad/Site E figurines to be contemporaneous. At this site exact stratigraphic locations could be determined by cross-referencing the AMNH catalogue numbers with Willey's publication: • 2141, 2138a and 2140/Pl.6 come from the White-on-Red levels, though only 2141 has actual a White-on-Red decor. A very similar face-neck fragment (Willey 1943a:9e) also comes from the White-on-Red levels. A further three head fragments (P450, 2136a, 2136b 2) were found in the top level (level 1) of pits II, IV and VII respectively. These levels contain totally mixed material, from White-on-Red through Interlocking (Lima) to 1 2

The attribution of the specimens to various phases was provided by Palacios (pers. com. and 1988) 2136b is probably the fragment from Pit IV level 1 mentioned by Willey (1943a:161). 58

Black-on-White (Chancay), but the three fragments are undoubtedly of the White-on-Red period. • The atypical 2139 comes from a burial assigned to Willey's Intermediate period. It is associated with a bee? featuring circle-and-dot eyes (Willey 1943a:fig.9j) and with pottery (ibid:Pl.6e,f) dated by Patterson (1966:99) as late as EIP epochs 3/4. By analogy with the other groups the White-on-red phase at Cerro Trinidad must span the Late Formative to EIP 1/2, being contemporary with the Pinazo phase at Huachipa and with Villa El Salvador 1, whilst the following Intermediate phase dates to EIP 3/4, contemporary with the Huayco phase at Huachipa and Villa El Salvador 2. There is no clear data about the context of 1753/Pl.10, the only specimen from Pachacamac included in this group . Although it is listed amongst the material deposited by W.D. Strong at the AMNH (41.1.8990) it is not mentioned in Strong and Corbett 1943, which is surprising, considering the quality of this sherd. It bears the hand-written numbers 42 and 182, one of which could refer to the excavation blocks (see Strong and Corbett 1943: fig.5). Block 42 contained Late Horizon material, block 182 Interlocking (e.g. Lima) material. But neither block lists modelled sherds. With its deep parallel incised lines at the back of the head and deep incised eyes, this fragment would fit into the early part of the sequence, i.e. the Late Formative. The material from Site 12B-VII-100 at Chilca, which contains figurine P465/Pl.10, is the basis for Stothert's Lapa Lapa style phase 2, contemporary with Nasca 2 and 3 on the South Coast and contemporary with Villa El Salvador 2, therefore dating to EIP 2/3. In the light of this group’s chronology, Ravines' inclusion of his "Huachipa" tradition at Garagay into the original occupation of the site—ending at the beginning of the Early Horizon (Ravines et al.,1978-80:136-138)—must surely be revised. Like the later Middle Horizon presence at the site, the Huachipa occupation may represent a reutilisation of the site, perhaps as a cemetery? THE FIGURINES OF THE EPIFORMATIVE: SYNOPSIS

The 60 figurines of the Epiformative mark a change in the figurine tradition of the Central Coast, a change which can also be witnessed in other areas of Peru, more especially on the North Coast and in the Highlands 1, illustrating the phenomenon known as the Red-on-White Horizon. New elements are the inset pellet eyes, a feature shared with contemporary (or slightly earlier) North Coast specimens, appliquéd elements like headdresses with a decor of short, laterally applied notches or punctations, replacing the deep incisions common on Formative figurines. Where preserved, the elongated bodies with vestigial arms and legs are otherwise featureless; like during the earlier Formative period, the gender is very rarely shown. The general appearance remains stylized, but is much coarser, caricature-like than in earlier times. The popularity of figurines continues unabated, though they are—as yet—conspicuously absent from some contemporary assemblages, such as Baños de Boza and Villa El Salvador. Where their context is known, the figurines were mainly used as grave goods.

1

See Vols. I and III. 59

CHAPTER 4 THE EARLY INTERMEDIATE PERIOD ON THE CENTRAL COAST: THE LIMA CULTURE AND ITS SUCCESSORS: NIEVERIA AND MARANGA INTRODUCTION

The Lima culture spread through the valleys of Chancay (with the neighbouring Ancón area), Chillón, Rimac and Lurín during the period from about 200 AD till 650/700 AD. With its many important ceremonial centres (Cerro Trinidad, Chancayllo and Horcón, Chancay valley; Cerro Culebras, Media Luna and Copacabana, Chillón valley; Maranga, Huaca Pucllana, Vista Allegre/Catalina Huanca, Potrero Tenório, Mangomarca, Cajamarquilla, Nieveria, Huaca Trujillo etc., Rimac valley; Pachacamac, Lurín Valley)—to name only the most important sites—the Lima culture represents the "Regional Developmental Period", which we know so well from the contemporary Moche and Nasca cultures to the north and south. Like them, the Lima culture shared a ceramic style, architectural features such as the use of small adobitos, common funerary practices of extended burials on litters, etc. 1 One of the reasons why this culture does not have the same prominence in Peruvian archaeology, may well be the fact that it occupied the best irrigated and most populated part of the Peruvian coast, so that successive cultures in pre-Columbian, colonial and modern times have all but obliterated its remains. V. Falcón (2012), who has recently outlined the various investigations into the Lima culture over the last century, thinks that the absence of spectacular monuments has attracted and still attracts less interest from and financing of archaeological investigators. Three main pottery styles are associated with the Lima culture: The earlier Proto-Lima, Interlocking or Playa Grande pottery was first excavated by Uhle at Cerro Trinidad, Chancay and subsequently also found in the Ancón area, in the Chillón, Rimac and Lurín valleys. Following Uhle, Patterson named the style "Lima", but dropped the prefix “proto” (see Chronological Chart 2.2 and Patterson 1966: 34-36). It is characterized by white and black designs on a red background, forming intricate interlocking geometric patterns. Nine stylistic phases, spanning periods 5 to 9 of the EIP (phase 9 overlapping with the beginning of the Middle Horizon), were defined by Patterson (1966) on the basis of small scale excavations and surface collections at sites around Ancón and in the Chillón valley. Note that 76% of the pottery sample in Patterson's study belong to his phases 4 to 6, and only 12% each to his phases 1 to 3 and 7 to 9. The name now most commonly used for this pottery is Playa Grande or Interlocking. Patterson's 1966 study of the Lima culture does not include the Maranga or Nieveria pottery styles, which were originally thought to belong entirely to the early Middle Horizon, though they are now seen as the late styles of the Lima culture (Narváez 2006 a, b). They were identified at the eponymous sites: Maranga, a large complex of huacas in the lower Rimac valley, and Nieveria, a cemetery near the ruins of Cajamarquilla, around 25 km. up the Rimac valley. But both styles are also present in many other sites in Rimac Valley (Guerrero and Palacios 1994; Segura 2004). The styles are in fact different: Maranga pottery is thick, quite coarse and matt, with black and white designs on a red base, somewhat related to Interlocking, whilst Nieveria is—mostly though not always—a thin, fine-grained, highly polished orange 1 For an excellent overview of the various studies and differing chronologies of the Lima style see Kaulicke 2000: 318ff; for a recent bibliographic overview of the culture see Falcón 2012.

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ware, with more naturalistic decoration in black, red and white, sometimes grey and original shapes. J. Narvaez (n.d.) now suggests the following chronology for the Lima culture: Early Lima: 150 - 300 AD Middle Lima: 300 - 500 AD Late Lima (including the Maranga and Nieveria styles): 500 – 650 AD. Note that the late phases of the Lima culture (8, 9) are contemporary with MH1, perhaps even with MH2A (see Chronological Chart 2.2 1). THE FIGURINES OF THE LIMA CULTURE The problem for this study is the relative scarcity of Lima figurines—at a time when in contemporary cultures like Moche and Nasca we see a tremendous proliferation of these objects. In fact human representations appear not to have been an important element of Lima iconography. None of Patterson's assemblages contain figurines or face-necks; they are also extremely rare in other published excavations. For instance, there were no figurines at all in 40 graves excavated by Louis Stumer at Playa Grande (Stumer 1953:45-47), only six specimens in the 43 graves excavated at Cerro Culebras, four of them in the same grave (Falcón and Amador 1997), only two specimens in the numerous graves belonging to the Lima culture—containing Interlocking and Cajamarquilla pottery—excavated by Jijón in Maranga (Jijón y Caamaño 1949), only one figurine in Kroeber's (1954) Proto-Lima graves at Maranga (Aramburú) and only one figurine and two small amulets amongst the 148 ceramic objects excavated or acquired by Uhle at Nieveria (Gayton 1927). The 40 figurines assigned to the Lima culture have been subdivided into three Groups: Group 1: Miscellaneous Lima Figurines Group 2: Nascoïd figurines found in a Lima context and similar specimens Group 3: Figurines formerly classified as "Nieveria" 2 or found in a context of Maranga or Nieveria-style ceramics. LIMA GROUP 1: MISCELLANEOUS LIMA FIGURINES

Table 4 Plate 11 Sample: 13 figurines, incl. 2 fragments + 1 atypical figurine (examined 6) Measurements: Minimum Maximum Median Height (11): 8.7 cm 28.5 cm 11.3 cm Width (11): 4.7 cm 8.7 cm 6.6 cm Thickness (10): 3.2 cm 8.9 cm 4.4 cm GROUP CHARACTERISTICS

The sample is too heterogeneous to constitute a proper iconographic group. The crown of the head can be slightly depressed at the centre (1999, 2135), straight (696, C125, C126), or slightly rounded (C122-C124, 817, C129), often widening at the temples to form lobes (1999, C127, 2135) or angular projections (696, C125, C126); in profile the head is mostly flattened, more rarely slightly rounded (C122, C123). The face is often upturned (e.g. 696, C127). The eyes can be painted (as well as modelled on 696, 2135), with white oval eyeballs, black pupils and wide lids, or absent (C122-C126, 817). The nose is generally very large and rooted high up on the forehead, mostly lacking nostrils or alae (exception 2135); the mouth is either a crude, slightly raised incision (e.g. 696, C122, 817, 2135), painted (C127) or not shown (1999, C124-C126); no ears (exception 817 with large projections, 2135 with a small flap-like ear on the right side), no face-paint (exception: the face of 2137 is painted white, traces of white on 2135); the chin can be oval to rounded (e.g. 696, C123), markedly jutting (2135) or Chronological Chart 2.2, listing earlier publications of EIP and MH material is self explanatory. In the 1995 version of this study (my doctoral dissertation), the Nieveria figurines were listed as Early MH Group 1: they are now incorporated into the Lima figurines as a separate group.

1 2

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missing (1999, 817, C129). Painted hair is shown on 1999 (back only), 2137 and on 696 on both sides of the face, hanging down over the shoulders and at the back to below the waist. There are two basic types of body: elongated, lacking shoulders, with very short separate tab-like legs/feet (e.g. 1999, 696, 817) or rotund, widening below the neck, with a rounded base and no feet (e.g. C122, C123), as well as intermediate variants. 696 and 2135 have thin appliquéd arms, folded upwards on the chest, ending in small hands with three or four fingers, the rest have no arms, but sometimes widen at the sides (817, C129). Breasts, genitals or the umbilicus are never shown. The back is featureless, except for the hair (see above) and painted decor on C127. Clothing and accessories: 1999 has two sets of painted nested squares, placed one above the other in front; C127 has a similar decor, also in the back. 696 has a necklace consisting of a row of white painted rectangular beads, 2135 has a painted black and white necklace. Manufacture: All the figurines are hand-made; seven are definitely hollow, with two airholes: 1999 at the neck, 696 at the waist, 817, C129, C130 below the shoulders, not known for 2137, 2135; three figurines are solid, another three may be solid: the two lateral perforations are said to go only from side to side and are not air-holes as such (C125, C126, C127). The texture of the paste varies from coarse to medium. No specimens appear to be slipped, some are painted, usually in red and in shades of black and white; other specimens are coarsely burnished. Atypical 2158, excavated in Pachacamac, in the same stratum as 2135, is a remarkably large, naturalistic nose, with modelled nostrils, alae and a nose-to-mouth groove, perhaps from a face-neck, rather than a figurine. But naturalistic noses do occur in Huachipa (see 1119/Pl.8 and on an unpublished face-neck). DISCUSSION

Special Features/Links with other groups 1999 and 2135 show a bilobal cranial deformation, shared with 2227/Lima Gr.2, 633/Lima Gr.3, and to a lesser degree with C127 in this group. This is the first instance of a type of deformation which is quite common on Central Coast figurines, especially in the Late Intermediate 1. It is also very common in late Nasca figurines (see Vol. III, Nasca sg. 4.2.3). Other specimens, such as 696, C123, C125 have a head widening at the "corners" of the crown, which probably also indicates cranial deformation: it is very pronounced in Lima Gr.2 and on Nasca figurines. 1999, 696, C122, 817 etc. all have a high-rooted nose, a feature very common in Epiformative figurines throughout Peru 2. The same specimens lack a mouth, a feature which we see in Late Nasca 3. The lack of chin on 1999, 817 is also typical for the preceding Huachipa style (see 812/Pl.7, 1071/Pl.8) and NC Epiformative figurines (see Vol. I: Gallinazo/Virú, Vicús). 1999 and 696 have painted hair in the back, in the shape of curls hanging down the back, and—on 696—also side locks and hanks hanging down in front, both typical for Nasca: the hair shown as thin, separate strands is typical for late Nasca (see Vol. III: Pl. 29). The majority of figurines in this group lack arms, again an Epiformative feature, both on the North and Central Coast (Gallinazo/Virú, late Huachipa figurine 817), which also occurs in late Nasca Gr. 3 (Stelae), and on some later Central Coast MH specimens like 96 or 1055/Pl.18 (Chapter 6, "Transitional" MH Gr.2, Hybrids) and many Huaura Gr. 4/Pl.42 ("Slabs").

For a detailed discussion see below, Chapter 9: Chancay sg. 1.1. see Vol. I: NC-Puerto Moorín, Gallinazo/Virú, Vicús; Vol. III: North Highlands Kotosh Higueras figurines, Central Highlands Cochachongas figurines. 3 see Vol. III: Nasca Group 3. 1 2

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1999 features nested squares painted on the body: this can be a White-on-Red design (Willey 1943a:145, Pl.3p,q) but it also appears, in exactly the same position, on two late Nasca stelae (Vol. III: Pl. 23: 652, 680/Nasca sg. 3.1). Air-holes placed at neck level (1999) are relatively rare: they occur on 2327/Lima Gr.3, occasionally on NC Gallinazo/Virú figurines (see Vol. I), and on 6 (5.5%) of late Middle Horizon CC Supe figurines (see Chapters 7). Context Two figurines were excavated at Cerro Trinidad, Chancay (Uhle's Site E): 1999 was excavated by Uhle in an area of looted and/or re-utilized graves (Kroeber 1926b: 283, 297). Probably because of this, no gravelot is listed. 2137, a head fragment, was excavated by G. Willey at the same site. A salvage excavation recovered six specimens from three graves in Quebrada II at Cerro Culebras, Chillón Valley, a small lateral ravine at some distance of the main ceremonial and domestic structures of the site: a total of 43 graves were excavated here in 1993. C122, C123, C124, C125 were found in Grave 2, an infant burial, C127 in Grave 40, also a child burial and C126 in Grave 12, which is described in great detail (Falcón and Amador 1997). Here the infant, aged between 8-10 months, showing clear fronto-occipital cranial deformation, is wrapped in textiles and attached to a litter made of sticks measuring 90 cm by 65 cm. and placed with the body facing downwards. The fingers of the infant were wound around with threads containing an unidentified substance. Three miniature vessels were placed by the head, whilst the figurine was located by the shoulder. Inside the five or six layers of textile wraps were found objects of Spondylus, as well as a small basket, a miniature mat, a feather (see Appendix 3: Gravelots). The remaining specimens were mostly excavated from unspecified, probably domestic contexts (see below, Chronology). Geographic Distribution 1999 and 2137 were excavated by Uhle and Willey respectively from Cerro Trinidad (Uhle's Site E), situated south of the township of Chancay, Huaral Province. 696 was acquired from huaqueros in the Chancay Valley in the late 1960s, so it is very likely to come from that area. As we have already mentioned, there are no figurines at all from the Ancón-Playa Grande area. C122-C127 were excavated from a cemetery at Cerro Culebras, the important ceremonial and domestic site of the Lima culture in the Chillón Valley. 817, C129, C130 all come from the Canto Grande and Potrero Tenório areas of the lower Rimac Valley (see below Lima Gr. 3) 2135 and the atypical 2158 were excavated by Strong and Corbett below the Temple of the Sun at Pachacamac. Chronology Uhle assigns 1999 (a complete—unpublished—figurine from his excavation at Cerro Trinidad, Uhle cat.no.4-6766) to his "first period" at site E (Cerro Trinidad), Chancay (Kroeber 1926b: 267). This, in Uhle’s view, is not the earlier White-on-Red period at the site (Uhle's "second period"), but the later Interlocking (Lima) Period (Kroeber 1926b: 283, 297; Willey 1943a:183, Patterson 1966:109). There are no gravelots listed for the site. It is however interesting to note that the catalogue numbers closest to this figurine—Uhle’s finds recording being very methodical, closeness in the catalogue numbers generally also means proximity in the retrieval—are of face-necks, also listed as Interlocking (Kroeber 1926b: Pls.89C = 4-6764, 90E = 4-6762, Pl.90G= 4-6765 1)), but which could belong to the White-onRed style (Willey 1943a:183). Two of these (Kroeber 1926b: Pl.89C and Pl.90G) have the eyes with inset pellet pupils, typical for the Epiformative White-on-Red style. Only Pl.90E/cat. no.6763 has painted eyes similar to Lima style figurines. 1999 certainly does not 1

Not no. 6756, as listed in Kroeber (1926a:304). 63

belong to the White-on-Red Epiformative style. Considering all the links, listed above, with Nasca Stelae and Miscellaneous late Nasca figurines dating to Nasca 9/MH 1, I would place this figurine at the end of the Lima sequence 1. A similar dating should also apply to 696, bought from huaqueros in Chancay, and for the same reasons. 2137 is a painted head fragment from Pit 2, level 1, at Site E, Cerro Trinidad, Chancay (Willey 1943a:133, 161, fig.9i). This level contained mixed pottery ranging from White-onRed through Interlocking (Lima) to Chancay Black-on-white. The face is painted white, the hair black, the neck red with a clearly delineated painted eyeball and brow. The difference with the earlier White-on-Red figurines from Site E (see 2141, 2140, P450, 2136a/Pl.6/Epiformative) is the absence of the pellet eye 2 and the painted decor, which occurs in 2135/Pl.11 from Pachacamac and P466/Pl.13/Lima Gr. 3. As far as the figurines from Cerro Culebras, Chillón Valley (C122-C127) are concerned, the following precisions are given by Falcón and Amador 1997: The site as a whole has been dated to Patterson's Lima phases 4-7, but—in the absence of any diagnostic Lima ceramics in the 43 graves excavated by them in a "cemetery" on the site—their dating is based on the burial pattern. This consists of a shallow grave, with the body attached to a litter made of sticks and mostly placed face downwards, with the head orientated to the south and with few objects placed near the head 3. Apparently this burial pattern shows only small variations throughout the Lima culture till its Nieveria phase, when it changes significantly. On the base of the burial pattern the authors date Grave 12, containing C126, to Lima phase 7, a date which probably also roughly applies to the remaining figurines. Although 817, C129, C130 come from the Canto Grande/Potrero Tenório area of the lower Rimac Valley, where many figurines were found associated with Nieveria pottery, and are quite similar to the Nieveria figurines (see 2327, 2229, P466/Lima Gr. 3), both J. Palacios and J. Abanto, who provided these specimens, consider them as belonging to the Lima style. 2135 is part of a figurine excavated by Strong and Corbett below the Temple of the Sun at Pachacamac. The two fragments of this figurine were retrieved from blocks 136 and 137 in Cut 2 (1943: 44ff; Pl.5f,h;Table 3). These blocks showed a layer of detritus, located immediately above a Lima 6 structure and containing sherds dated by Patterson (1966:131) to Lima 6 and 8/9. Considering the resemblance of this specimen with P466/Pl.13, the Nieveria figurine from Zarate (see Gr. 3), it probably also belongs to Lima phases 8/9. The atypical 2158, a nose fragment, bears the same AMNH catalogue number as 2135 (AMNH 41.1.8978) and comes from Block 155 in Cut 2 at Pachacamac (Strong and Corbett 1943:Pl.5e; Table 3), which belongs to the same late Lima stratum as above (Lima 6 and 8/9). So, apart from 2137, the figurine fragment from Cerro Trinidad, all the figurines in this group probably date to Lima phases 7 to 9, i.e. LIP 7, 8- MH1A. LIMA GROUP 2: NASCOÏD FIGURINES FOUND IN A LIMA CONTEXT AND ASSOCIATED FIGURINES

Table 4 Plate 12 Sample: 9 Figurines (examined 9) 4 Measurements Maximum Height (9) 28.2 cm Width (9) 12.5 cm Thickness (7) 6.2 cm

Minimum 13.0 cm 6.5 cm 3.7 cm

Median 17.8 cm 9.0 cm 5.4 cm

Even though Patterson (1966, Appendix 3) dates the vessels excavated by Uhle at Cerro Trinidad to Lima 2-6. 2 These are mentioned by Willey (1943a:176) under "Interlocking", but also come from mixed contexts and have been assigned to the earlier Epiformative culture (see chapter 3). 3 This burial pattern is also described by Kroeber (1926c: 339) 4 All the figurines were photographed by me – unfortunately badly: the drawings provided by J. Palacios, which appear on Plate 12, often slightly differ from the actual specimens. 1

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GROUP CHARACTERISTICS

Standing figurines with obvious Nasca-related features. The head, often tilted backwards (2224, 2226, 2223, 2228), has a slightly curved, straight or bilobed crown; in profile it is straight (e.g. 227) or curved inwards (e.g. 2221, 2225). The features, except for the large hooked nose, are painted (exception 2228 with incised eyes and mouth); eyebrows are shown on 2221, 2224, 2221, the narrow lenticular eyes have painted pupils; narrow mouth (no mouth on 2361); no ears; rounded chin, either close to the chest (2221, 2225, 2222), or slightly jutting (e.g. 2227, 2223). Painted hair, in various styles, is always shown, except on 2228. The neck can be modelled (2361, 2226, 2223, 2228) or absent (2221-2227). The body is always wider at shoulder or arm level, tapering downwards to the feet, but varies considerably in width and length. Five specimens have folded arms, painted (2221, 2224, both with four painted fingers) or modelled (2225, 2223, 2228, the former with modelled fingers); four figurines have no arms. Legs are mostly bulky, straight, joined down the middle; three figurines have short separate legs. Three figurines show genitals (one female 2224, two males 2225, 2222 1), a further figurine can be identified as a female by her hairstyle, the rest are sexless. Some clothing is shown on five specimens. Seven of the figurines show strong resemblances with Nasca figurines, two further figurines (2223, 2228) show stronger local traits. Manufacture: The figurines are hand-made, hollow but heavy, with air-holes at waist or shoulder level. The ware is terracotta, the decor is painted in one to four colours: pinky-white or cream, greyish black, red or orange, dark red. DISCUSSION

All the figurines (except 2361) were found at Huachipa, Rimac Valley, in “a Lima cemetery with some Nievería pottery” (J. Palacios, personal communication). I understand that, like other finds from the site, they came to light in the course of brick-making (see chapter 3), and were not all found at the same time, though 2224 is said to have been associated with 2225, 2222 with 2223. No other data, nor any of the associated pottery, be it Lima or Nievería, was available for study. 2361, from the Museo Amano, is said to come from Chancayllo, a ceremonial site in the Chancay valley. It was included here because unlike f.i. 696/Lima Gr.1, also from Chancay, it is more clearly Nascoïd, with its nose starting below the forehead, its painted lenticular eye, lack of mouth, painted hair. Special features/ Links with other groups The Nasca influences apparent on six of the figurines (2221, 2224, 2225, 2222, 2226, 2227) can be seen in the shape of the head and the nose, the painted features such as the "stars" in the pubic area and buttocks of the female 2224, the different hair styles and some aspects of the clothing, especially the differentiation between male and female attire (see Chronology below). There are however some features not encountered in Nasca figurines 2: • Although many Nasca figurines have modelled arms, these are usually much thicker, modelled with the body and either folded at the waist or extended downwards, never appliquéd, thin and folded upwards, as on 2225 and 2223. • Several figurines here have joined legs and modelled feet, which are comparatively large and also protrude at the back. Nasca small standing female figurines (Nasca sg.1.1) generally have more naturalistically modelled legs, clearly separated by a much deeper incision and tiny feet. Nasca large sitting females (Nasca sg.1.2) and all males (Nasca Gr. 2) have completely separate legs, whilst late Nasca Stelae, (Gr.3) have no legs and stand on a rounded base. The short stump legs of 2361, 2227 and 2228 are a local CC trait.

The genitals are not shown on the drawing of 2222, but they are definitely visible on the actual figurine—as a small bulge, typical for Nasca males. 2 See Vol. III, Chapter 2 1

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• All the figurines here are at least partly hollow, with air-holes, whilst Nasca figurines are always solid. • 2223, less Nascoïd in appearance, nevertheless has a short hair fringe like 2226, typical for late Nasca, and legs resembling the other Nascoïd figures in this group; and it was found associated with the Nascoïd 2222. • 2228 has no Nascoïd features, but it has the legs similar to 2361 and 2227, which in turn have Nascoïd features. The thin appliquéd arms folded upwards, the short stump legs, the high-rooted nose occur in some Epiformative figurines (see chapter 3) as well as on some other Lima figurines (see Lima Groups 1 and 3). • But the strongest resemblance of the group as a whole is with Nascoïd figurines from Cerro de Oro, Cañete (Kroeber 1937:Pl.LXX.3) and other late Nasca figurines (see Vol. III, Nasca sg. 4.2.3), which are bilobed like 2225 and 2227, have thin appliquéd arms like 2225 and 2223 (though not folded upwards), and wear overall garments with diagonal design elements, reminiscent of—though not identical with—the one worn by 2227. Context There are no specific data about the retrieval of these specimens, except that they come from a “cemetery” at Huachipa, Rimac Valley, in a Lima culture context (J. Palacios, personal communication). Interestingly we know very little about the functional context of Nasca figurines on the South Coast: unlike the Nascoïd Huachipa specimens, hardly any Nasca figurines are known to come from graves, though we have no other documented provenances either. Geographic distribution The discovery of these specimens extends the northern limit of late Nasca influence— which hitherto was only documented as far as the Cañete valley—to the Rimac valley. It is difficult to speculate to what phenomenon this influence can be attributed. It may be a first manifestation of the inter-regional contacts which characterizes the early Middle Horizon. But the figurines are certainly not imports; they are even too different from late Nasca prototypes (both in appearance and in manufacturing techniques) to have been manufactured by Nasca migrants. It is more likely that they are the work of local artisans imitating Nasca pieces. Chronology Although found on the Central Coast, these figurines can only be dated with reference to Nasca figurines. A detailed study of Nasca figurines1 shows that many traits, such as hair style, hands, eyes, face- and body-paint, presence or absence of arms or legs, clothing, are very phase-specific and can be used to date the Central Coast Nascoïd group. 2221 has a hair style showing hanks of hair hanging over the shoulders, separated into several strands as well as hair hanging low down in the back, alternating between thick and thin strands; both these features can already appear in Nasca 5, but the waist-length hair at the back, in strands of alternating thickness, is a feature typical for Nasca 6/7, not occurring in earlier or later phases. Hands with square fingers (and fingernails) and placed at right angles to the body also never outlive phase 7. But note also that three fingers—as shown here—only occur in Nasca 4/5 2. On balance, and also taking features like the very narrow eyes (a late trait) and the absence of face-paint (typical for Nasca 6/7) into account, I would date 2221 to Nasca 7, that is EIP 7. The fact that the figurine is standing rather than sitting, as well as the line dividing the shirt from the lower part of the body—a feature which we see on a late Nasca, stelae-related figurine (Vol. III: Pl. 28: 638/Nasca sg. 4.2.3)—would argue for the end of phase 7. The remaining figurines all date to Nasca 8, or even 9. Relevant late features for dating are: 1 2

For a detailed analysis of the 170 Nasca figurines see Volume III. This feature, clearly visible on my (bad) photograph, is rendered differently on the drawing. 66

Hair-styles (see Vol. III: Pl. 29): • the short fringe over the forehead (2226, 2227) (Vol. III: Pl. 23: 679/Nasca Gr.3.1); • the very long, thin strands or plaits, from below the neck to the waist (at the back) as on 2224; • the separate strands starting below a line of solid hair, high on the back of the head (2226). Clothing: • the long patterned tunic worn by Nasca males (2225, 2222): earlier males mostly wear only a loin cloth (except for some small Nasca 5/6 males with short plain shirts); • a patterned area on the front of the figurine, as on 2226 and 2227. Note that a similar decor is also shown on a Lima Gr.1 figurine (1999/Pl.11) and on later MH figurines (see 692, P490/Pl.42/Huaura Gr.4). Other late traits: • The absence of arms, very common on Nasca stelae (Nasca Gr. 3) • A line painted along the nose (2225) which first appears on Nasca stelae and becomes quite common during the Middle Horizon. As already stated, the best overall match are Nascoïd figurines from Cerro de Oro, Cañete and other late Nasca figurines (See Vol. III, Nasca sg. 4.2.3). Menzel (1964:34-35) dates Kroeber’s material from Cerro de Oro, Cañete, to MH1B. However, all the evidence shows a radical change in the figurine tradition on the South Coast at the beginning of the Middle Horizon. So I feel that those figurines, resembling the Lima Nascoïds, probably represent a local Nasca 8/9 survival. There can be no doubt that this group as a whole dates to the very end of the EIP or the beginning of the Middle Horizon (EIP 8-9/MH1A). This tallies with the fact that the figurines were found in a cemetery containing both Lima and Nievería pottery. Note also that Menzel (1964:32) mentions a Nasca 9 vessel amongst Uhle's material from Nieveria. LIMA GROUP 3: FIGURINES BELONGING TO OR ASSOCIATED WITH THE NIEVERIA OR MARANGA POTTERY STYLES A word of warning: there has been a certain confusion about the ceramic styles which straddle the end of the EIP Lima culture and the beginning of the MH1. As Menzel (1964: 31) points out, what she calls the "Nieveria style" has been called "Proto-Lima" by Uhle, Gayton 1927, Kroeber 1954, "Maranga" by Jijón y Caamaño 1949, Stumer 1957 and "Cajamarquilla" by D'Harcourt 1922. What has emerged since then, is that two distinct ceramic styles appear at the end of the Lima culture, often associated with it: THE NIEVERIA POTTERY STYLE

A number of cemeteries at Hacienda Nievería, near the ruins of Cajamarquilla in the Rimac Valley, were first excavated by Uhle around 1906. Together with various "strains" of local Lima-style pottery (called Proto-Lima by Uhle), Gayton who published Uhle's material deposited at the HMB, also mentions ceramics related to "extraneous coastal cultures" (1927: 312). Amongst these was what is now known as the Nieveria style, characterised by a fine orange ware with little temper and designs in combinations of black or grey, white, bright and dark red on a highly polished, mostly orange slip, with a great variety of vessel shapes. Its origins lie undoubtedly in the Lima style, but with some clear outside influences, mainly from the South Central Highlands, like Chakipampa and Ocros, and the South Coast, mainly Nasca 9. The style occurs predominantly in the Rimac valley, but reaches Ancón in the north and 1

See Chronological Chart 2.2 67

Lurín in the south. Studies of the Nievería style include d'Harcourt (1922), Gayton (1927), Menzel (1964:31-33), Shady (1982) and Segura (2004). Whilst Menzel (1964: 31) dates the Nievería style to MH1B only, calling its later manifestations "Derived Nievería", Shady (1982:19ff) dates it from EIP 7/8 till MH2B, with its main flowering in MH1 and 2A. More recently Valdez (2015), re-examining the Nieveria material excavated in the Rimac Valley by Uhle, Stumer and the Italian Mission, definitely sees the Nieveria style as a coming together of Lima, Chakipampa and other "foreign influences"; although he does not make use the "classic" chronology, it would appear that he also assign it to phases of the EIP-MH divide. THE MARANGA POTTERY STYLE

Much less studied and well-defined (also less important) than the Nieveria style, Maranga pottery is a thick, quite coarse red ware, with black and white designs, "resembling the pottery of Playa Grande, but with less complex designs and new vessel shapes...with a dull surface" (Lumbreras 1974: 121f.). There is also a blackware variety. It is mainly found at the vast site of Maranga in the lower Rimac Valley, as well as Huaca Pucllana nearby and in other Rimac Valley sites. But there can be no doubt about the contemporaneity of the Nieveria and Maranga ceramic styles. Segura (2004: Foto 4) shows an unmistakably Nieveria effigy vessel, where a personage carries on his back an unmistakably Maranga pot! And he wonders (2004:112) whether the presence of one or the other ceramic type in a grave, was not the result of choice? As for the exact chronological position of these styles, Kaulicke (2000: 329) remarks: "Basically, the national archaeologists believe in a Maranga style into which Nieveria is inserted. If we consider this in the light of Patterson's seriation, Nieveria would fit into his phases 7 to 9 or at least start within that continuum...[According to Patterson] Lima 9 belongs partly to EIP 8 and partly to MH 1A" (my translation). Only two figurines in this sample, 633 and the atypical 337, unmistakably belong to the Nievería ceramic style by their ware; 337 also shows a typical Nieveria-style iconographic design. The remaining specimens (except 512) were found associated with Nievería or Maranga pottery. THE NIEVERIA OR MARANGA-RELATED FIGURINES

Table 4 Plate 13 Sample: 13 figurines, 2 atypical and 2 associated figurines (examined 10) 1 Measurements: Minimum Maximum Median Height (9): 7.6 cm 18.0 cm 12.0 cm Width (7): 3.9 cm 8.5 cm 4.5 cm Thickness (6): 2.4 cm 5.7 cm 3.5 cm GROUP CHARACTERISTICS

Although basically quite different, these smallish, coarse, standing figurines share a vague "air de famille" similarity. There are two basic head-shapes: the head can be relatively small, with a rounded crown (e.g. 2015, 2228, 2229), or have a straight to slightly bilobed crown (633, 2327, P468, P469); in profile the head can be rounded or flat, independently of the shape of the crown (cf. C128 with 1716); the proportion to the body varies. The face varies greatly and hardly ever has a normal shape and. The eyes can be incised: straight (2015, 512, 2229), or circular ( 2336, 2328, 1716, 1596), painted (633, 1716, 2327, P466), appliquéd (1596), with inlaid pellets (C128) or absent (P468, P469). The mouth is incised, sometimes quite wide, (five specimens), painted (two) or absent (two). The nose, always lacking nostrils or alae, is mostly quite prominent, starting high on the forehead (2015, 633, 512, P466, P469), or normally placed (e.g. C128, 2328). Ears are only shown on 2229. The chin can be rounded (2336, 1716) and jutting (2015, 512, 2229, thickened on 512), or it is altogether absent

1 An additional – very damaged and restored – figurine, said to be in the Maranga style and found at Cajamarquilla, Rimac Valley, is published by Brizzi (1976: no. 193).

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(e.g.633, C128, P468, P469). Hair: Incised on the top of the head of 512, 716, painted on P466. A neck is indicated on half of the specimens. The body usually lacks shoulders and is straight-sided, rounded at waist level or slightly flaring towards the feet; it can be quite rotund in profile. 2015, 512, P466, 2229, have thin appliquéd arms folded upwards on the chest and ending in tiny hands with three fingers, 633 has appliquéd arms folded diagonally across the chest, ending in large fin- or pincer-shaped hands with three fingers; 2336 has thicker arms, one folded upwards, one extended downwards. 1596 has small appliquéd protuberances at the sides, which may represent arms?, the remaining specimens have no arms. The legs are mostly short stumps. 1716 has relatively large breasts with central punctations; an incised vulva is only shown on 2015 and 2336; the umbilicus is never shown. The back is—as far as we know—featureless, except on 633, which has a painted belt. Clothing/ accessories: 633 has a painted belt (?) and painted lines along and between the legs; 2327 appears to wear a headdress with horizontal stripes; P466 has a painted necklace (?). Manufacture: All the figurines are hand-made; 2336, C128 and 1716 are solid; the rest are hollow, with air-holes at the sides: at waist level or slightly above (seven specimens), at the neck (two). The red ware is mostly coarse, unslipped; the surface colour is terracotta or orange, sometimes cream or buff, the decor can be black, sometimes with additional white or red. 633 is made of a fine ware, with an orange slip and grey decor, typical of the Nieveria style; 2336 has a very irregular orange surface with some large inclusions and black paint 1. Associated Amulets: P470, P471 (Gayton 1927: Figs 6a, 6b): Two small amulets excavated or acquired by Uhle at Nieveria. They have holes through their heads for suspension as amulets. Eyes and mouth are rendered by straight, deep incisions, the nose is prominent. The body consists only of an incision indicating the separation of the legs. No data regarding the ware. Atypical 337 is a double-faced "Janus" vessel, depicting a sitting personage with arms folded at the waist and small folded legs, the body lacking other features. The face is triangular, with painted eyebrows and eyes, a small modelled nose and drooping incised mouth. The personage wears a large headdress, perhaps made of feathers? The vessel is hand-made: it is light, feels and sounds hollow, but lacks air-holes. The ware is typical Nievería, with a greyish-black and reddish-brown decor on a highly polished orange slip. The Chancay provenance is undocumented. P467 is a fragment of a chest and right arm and could be part of a figurine or of a vessel. The position of the arm is unusual, reminiscent of large classic Nasca (6-7) male figurines, but these are never dressed. The decor of white and orange rings on a black slip is the only one in this group corresponding to the classic Lima style. The ring design appears in Lima 4, orange is used from Lima 5 (EIP 7) onwards. It is listed here because it is said to come from Maranga. DISCUSSION

Special Features The atypical 337, is the only figurine both in Nievería-type ware and showing Nieveria iconography. It is classified as atypical because it is entirely unlike the other figurines in this group. It depicts a specific human or divine personage, possibly the Cara Sonriente, identified by Escobedo and Goldhausen (1999:21) as an important element of Lima iconography, although it is by no means always smiling. It appears on many Nievería vessels (cups, doublespouted vessels), with its triangular face, modelled and/or painted eyebrows, eyes, nose and mouth, folded arms and vestigial (folded) legs (d'Harcourt 1922: Pl.VI,5; Shady 1982: fig.10f). Sometimes only the face is depicted (d'Harcourt 1922: Pl.VI,4; Kroeber 1926b: Pl. 88F; Shady 1982: fig.11d). The same personage also features on face-necks, not as the main 1

See a better picture in the gravelot (Appendix 3). 69

figure, but as a secondary one, located in the genital area (see Fig. 7: Hentze 1960: Abb.18); Milla Batres 1975:F/213; Kroeber 1954: frontispiece and fig. 28). Lyon (1978:108-109) suggests that the face located in the genital area of two of the face-necks could be a representation of the vagina dentata, a popular theme depicting the female vagina with teeth or as a mouth, an attribute which confers supernatural status to the personage depicted. Another interpretation sees the face as that of a shaman, covered by an animal skin (see Fig.9). These interpretations tally with two of the face-necks, one of which represents a fanged Fig. 7 being (Milla Batres 1975:F/213) holding trophy heads in his hands, the other a non-mythical feline (Fig.9), but less with the third nonmythical human (Kroeber 1954: frontispiece). In the case of the figurine, an added feature is its double-faced (or Janus) aspect, which also occurs on at least one of the double-spouted vessels (Shady 1982:fig.10g). The doubleface figurine, quite rare in other areas of Peru (see Vol. I: Plate 3, C3, with two different faces), is not uncommon during the later Middle Horizon of the Central Coast, (see below 1986/Pl.20/Supe, 140/Pl.34/Huaura 2.1, 2201/Pl.41/Huaura 3), showing the same females on both faces. Arriaga (1968/1621:277) mentions a male-female Janus stone figure venerated near Hilavi. The principle of dualism is a fundamental organizational concept in pre-Columbian Peru. It can express itself as a male-female dualism, but also in the "alter-ego" or brother concept (Rostworowski 1983). Since both aspects of the Nievería figurine lack sexual characteristics, we might be dealing with this second concept. Twins also play an important role in Peruvian cosmology and mythology but they are more likely to be shown as a couple than back to back (see Huaura Figurines, Chapter 8). Links with other groups Although the figurines were found in a Nievería or Maranga pottery context, they are not in the least influenced by those styles (exception 633 and the atypical 337). Nor have any "foreign" influences, announcing the spread of Wari, as yet penetrated this particular artifact type. The crudely made figurines are obviously rooted in the local Huachipa/Tablada tradition, which does not die out until well into the MH (see below Pls. 16-18) • The high-rooted nose, featureless body, lack of genitalia of some specimens, as well as the crude unslipped surface finish of most figurines, are all characteristic of this long-lived Central Coast tradition. • Although 633 exceptionally has an orange slip with grey decor typical of the Nieveria style, it shares the high-rooted nose of Huachipa figurines, and diagonally descending arms with late Huachipa 815/Pl.8/Huayco phase, EIP 3/4, as well as with specimens in Early MH sg.2.2 (1507, 94, 518/Pl. 17). Its finshaped hands are unique, but the representation of only three fingers—also on P466—is a recurrent theme on Peruvian pottery figurines 1. • 1716 has hair incised across the top of the head (as 2141 from Cerro Trinidad/ Pl.6, 807 from Tablada/Pl.9, 1753 from Pachacamac/Pl.10) and breasts with punctated nipples (as 819, 809 from Huachipa/Pl.8), all Epiformative figurines (see Chapter 3); the last feature also occurs sporadically in later CC groups 2. • The two amulets (P470, P471) are exactly like some amulets listed under CC-MH Gr.1/Pl.15, but have been included here, because of their provenance from Nieveria.

1 2

See Chapter 9, Chancay: Discussion of sgrs. 1.1.1-.1.1.4. See Chapter 3, Epiformative: Special features. 70

Context Four figurines (2015, 2336, P468, P469) were definitely found in graves (see Appendix 3: Gravelots). The remaining figurines were mostly found in disturbed fill, probably also in a burial context; as far as we know, none are said to come from domestic contexts. Geographic distribution All the documented provenances are from the Rimac Valley: 2015 comes from Nieveria, a burial ground near the ruins of Cajamarquilla, on the left bank of the Rimac, about 24 km from the sea, part of the former Hacienda Nieveria(see Valdez 2010, 2015). Uhle excavated 34 graves here (2015 comes from Uhle's grave 19), though some of the material from the site, studied by Gayton (1927) may also have been acquired from local huaqueros. 633, from the MNAA, has a number with the prefix 35/...According to Sr. Candela, a curator at the museum (personal communication), a number of Nieveria specimens at the MNAA with the prefix 35/... (see Shady 1982:81-82) were part of Uhle's finds from the site. 2336 comes from burial 8 excavated at Huaca Tello, part of the largest compound within the ruins of Cajamarquilla, situated in the extreme north-east of the site. The huaca itself reaches a height of 7m. and shows a succession of building- and remodelling stages from the Early to the Late Intermediate (Mogrovejo and Segura 2000). One part of it had been excavated by the Italian Mission in the 1960s (Sestieri 1971), and in 1996-1997 the Proyecto Arqueológico Cajamarquilla under J. Mogrovejo, excavated control ("testigo") areas, left untouched by Sestieri. Here they found 10 burials, one of them CF 8 (see Appendix 3: Gravelots). This contained Nieveria-style pottery and a body which had first been flexed in a sitting position (flexionado sentado) but then extended—the lower lumbar vertebrae were still in a vertical position—and laid on its back on a litter. Interestingly, two further burials containing Nieveria pottery also had extended bodies on litters, whilst the remaining seven burials with flexed bodies contained "new forms of pottery" (Mogrovejo and Segura 2000: 570-571). 512 is said to come from "Trujillo", but—since it is entirely unlike any North Coast figurine, but bears some resemblance with figurines associated with the Nieveria-style—it may well come from Huaca Trujillo, a pyramid now practically destroyed, situated ca 2 km. southwest of Cajamarquilla, on the right bank of the Rimac within the area of the former Hacienda Nieveria. C128 is said to come from a Nieveria context at one of the burial grounds at Huachipa. 2328 and 1716 come from Catalina Huanca/Vista Alegre, near Vitarte, on the Hacienda Vista Alegre, on the left bank of the Rimac. The site contains several pyramids, of which Catalina Huanca is the most important, as well domestic architecture and cemeteries. It probably dates from late Lima—its most important occupation phase, linked to the Ate irrigation canal—but was sporadically occupied till the Inca period (see Appendix: Sites). 2327 was retrieved during a salvage excavation at Mangomarca (quechua: Manqu Marka, 'pueblo del señor'), a site situated at the opening of the Quebrada Canto Grande on the right bank of the Rimac; this is the former Hacienda Zarate, in the district of San Juan de Lurigancho. Mangomarca itself is a large complex with one principal huaca. Its beginnings date to Middle Lima period, with an important Late Lima occupation, to judge by the presence of Nieveria ceramics; but its main flowering dates to the Late Intermediate, when it was the capital of the Curacazgo de Lurigancho, part of the Ychsma polity. P466 was excavated, 2229 was found at Potrero Tenório, (Zarate, District of San Juan de Lurigancho) located to the West of Mangomarca in its immediate vicinity, so that it is basically part of the same complex. P468, P469 and 1596 all come from Maranga, the most important site in the Rimac Valley (see Appendix 2: Sites). P468 and P469 were excavated by Jijón y Caamaño in 1925; 1596 was excavated at the same site by Kroeber also in 1925. The associated amulets, P470, P471, were amongst Uhle's finds from Nieveria (see above)

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P467, the double-faced figurine in pure Nieveria style, is said to come from Chancay (unverifiable provenance): according to Shady (1982:18) no Nievería pottery has been found further north than Ancón 1. Chronology The following figurines come from a datable context: 2015, excavated by Uhle in Grave 19 at Nieveria, was associated with a jar with a small lug at the base of the neck; the slip is reddish brown (Gayton 1927: Pl.96d). The decor consists of black pendant triangles with white spots, outlined in white, which Gayton qualifies as belonging to Strain B of the Proto-Lima (i.e. Lima) ceramics at the site (see Gravelots) 2. Segura Llanos (2001:122ff) shows that this ware is exactly what Menzel (1964, 1968a) defines as the typical Nieveria ware, dating to MH1B, though he convincingly demonstrates that in the PAC excavations at Huaca Tello, Cajamarquilla, this ware is found associated with Lima 7 to 9, and mainly 8 and 9. This is the main reason why the Nieveria style is now considered as a late expression of the Lima culture (see also Valdez 2015). But it also gives us a "benchmark", allowing us to date this type of non-descript figurine, clearly rooted in the earlier local traditions, such as Huachipa and Tablada de Lurín, to late Lima. 2336, from CF 8 at Huaca Tello, found with typical Nieveria vessels (see Appendix 3: Gravelots), dates to the same late Lima phases 8, 9. C128, from one of the Huachipa cemeteries, Rimac V., is dated to Lima 7 (J. Palacios, pers. comm.) P466 (Palacios and Guerrero 1992: Figs. 6,7) was found at Potrero Tenório in Zarate, Rimac Valley, below one of two burials of a rather unusual kind, associated with Nievería type ceramics. Considering features like the painted decor and the resemblance with 2137 and 2135/Lima Group 1, the figurine could date to EIP 8. Another figurine (2229), a find from the same site, has been included in this group, as it also resembles other Nieveria figurines, such as 2015. P468 and P469 (Jijón y Caamaño 1949: Figs. 217, 218) from burials CVII and CLXI at Huaca III, Maranga 3, were excavated in a cemetery dating to the third and penultimate construction (or rather remodelling) phase of Huaca III (Jijón y Caamaño 1949: 473). The pottery from this stratum includes what Jijón calls "Interlocking"—after Patterson—but which also covers wares which are now known as Maranga pottery: this means that the whole Lima sequence is represented (ibid.: 47, 174ff) 4. Unfortunately the figurines are not listed in the respective burial inventories (ibid. pp.30-32, 36), but this may be an omission. If it is, P468 (fig. 217) is associated with an orange-ware flask, with the design of an animal with profile head and ray appendages, referred to as Cajamarquilla pottery by Jijón. The flask is obviously related to the Nievería style, but there is no exact parallel for this combination of a flattened lenticular body, with a long, tapering spout and a strap handle amongst typical Nievería specimens. Analogies for the shape or the design range from Chakipampa and Nasca 9 to Atarco, so the piece should date to MH1B or MH 2. We see here the problem of dating the end of the Lima culture and more specifically the Maranga and Nieveria contexts, which are now incorporated into that style, but are probably contemporary with Lima 8-9/MH1. 1596 excavated by Kroeber also at Huaca 15 (or III) at Aramburu/Maranga is peculiar: facial traits are sketchy and there is an unidentifiable appendage on the chest. This may be the reason why Kroeber did not publish it (1954). Kroeber's catalogue entry (n.d.) specifies that it However a Nieveria vessel was excavated in the Jequetepeque valley (L. J. Castillo and C. B. Donnan (1994): La ocupación Moche de San José de Moro, Jequetepeque. In: S. Uceda and E. Mujica (Eds): Moche. Propuestas y Perspectivas, pp.93-146, Lima.) 2 Menzel (1964:32-33, 54) does not attempt to date this vessel, but vessels from Nievería with a lug at the base of the neck are dated MH1B-2A (Menzel 1964: note 162, referring to Gayton 1927: Pl.92C; Shady 1982:37, fig.13a,c). 3 For details of the site see Appendix 2. 4 In order to assign Jijón's ceramic categories to Lima phases, I checked his comparisons with material from Kroeber (1926b), Willey (1943a), Strong and Corbett (1943) against Patterson's (1966) phase attributions. 1

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is part of a ceramic lot "...from various depths, mostly 3 and more meters (viz., Proto-Lima layer)". Under Proto-Lima Kroeber, following Uhle, understands what we now call the Nievería style. Besides Nievería type orange ware fragments, this assemblage also contains thick terracotta coloured sherds with designs in red, black, white, or white outlined in black on a red background, belonging to Kroeber's "heavy ware" (1954: 61ff), which actually belong to the late Lima Maranga style. The catalogue number of the figurine (169.373) is close to Burial 105, containing Lima 7 (EIP 7) pottery (Kroeber 1954:fig.23, dated by Patterson 1966:127). So the figure is probably also late Lima (7-8?)/Maranga. The atypical 337, one of only two specimens which actually belong to the Nievería ceramic style, is easily dated by its resemblance with a nearly identical double-spouted vessel, which according to Shady (1982: 32, fig.10f) dates to MH1B-MH2A. The associated amulets P470, P471, amongst Uhle's material from Nieveria, are certainly MH in feel: they resemble other amulets found in a MH context and appear to be made of the very fine Caja ware (see amulets/Pl. 15/MH Gr. 1; Vol. III: Pl.66: P381/Early MH, Callejón de Huaylas). The following figurines are less securely datable: 2328 and 1716 probably both come from the late Lima ceremonial site of Catalina Huanca, on the Hacienda Vista Alegre near Vitarte, Rimac Valley1. They both share their rounded head, short body, stump legs with documented Nieveria figurines like 2015 and 2336, so they fit a late Lima/Nieveria date. 2327 from Mangomarca has been included in this group partly because of its provenance (we know that there was a Nieveria occupation at the site), partly because of a resemblance with the other Nieveria figurines, or rather because of its lack of resemblance with other, later figurines. However the painted decor, especially the painted horizontal stripes on the headdress probably shows other influences on a Nieveria figurine. THE FIGURINES OF THE LIMA CULTURE: SYNOPSIS The Lima culture, with its numerous and large ceremonial and/or administrative centres, attesting population expansion and economic growth in the valleys of the Central Coast, never achieved the homogeneity and strength of its contemporaries to the North and South, the Moche and Nasca cultures (Lumbreras 1974a:119ff; Shady 1982:13-14; Falcón 2012). In spite of many common features, such as construction techniques using the typical adobitos, specific burial customs, with the extended body lying on a litter, face up- or downwards, and a common ceramic style evolving through time, it is not even clear whether the Lima people formed a state, a confederation of chiefdoms or loose groupings of ethnically changing populations (over time), each with its own seat of power. Certainly the Lima culture marks an all-time low in pottery figurine production on the Central Coast. The small heterogeneous sample of less than 40 figurines is notable for its lack of innovation. With the exception of a unique atypical fragment (P471/Gr. 3) actually thought to belong to the late Lima/Maranga pottery style, all the specimens in Group 1 and in Group 3—which, associated with Nievería or Maranga pottery, were until recently considered as ceramic groups dating to the MH—, are related to earlier Epiformative types. In spite of a time span of several centuries, both the earlier Group 1 and the later Group 3 figurines are coarse, unsophisticated, with grotesque heads and oversize noses, roughly modelled bodies, stump legs, lack of sexual determination and adornments. As for the figurines in Group 2, they are clearly influenced by the late Nasca style, except for two specimens, found in association with them and resembling Nievería-related figurines. The figurines are certainly not imports; they are even too different from late Nasca prototypes (both in appearance and in manufacturing techniques) to have been manufactured by Nasca immigrants. It is more likely that they are the work of local artisans imitating Nasca pieces. Valdez (2015: 132) dates the majority of gravelots excavated by Stumer at Catalina Huanca to Patterson's phases 8-9.

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One can only speculate on the nature and dynamics of the Nasca influence in the region. The Nasca connection with Lima pottery shapes and designs already starts in earlier phases (Lima 5/6) and is the object of some conjectures (Kroeber 1926b: 287ff; 1954:122-123; Patterson 1966:93-94, 101-102). Group 2 figurines are a proof of the inter-regional contacts which came into action during the later phases of the Early Intermediate Period and heralded the expansion of Wari. This brings us to the relatively recent inclusion of the Nieveria style (Group 3) into the wider Lima culture (Segura 2001; Tavera n.d.), rather than seeing it as an early manifestation of Wari influence on the Central Coast, dating to the early MH (Shady 1982). This shift is due to the fact that Nieveria pottery was found associated to late Lima pottery, especially at Cajamarquilla (Mogrovejo and Segura 2000). At the same time, the Chakipampa pottery which mainly influenced the Nieveria pottery, is seen as dating to MH1A, i.e. before the Wari expansion, though the question remains how this highland influence appeared on the ceramics of the Central Coast. Amongst the figurines associated with the Nievería pottery style (Group 3) only the "Janus" figure (337), unique in every way, represents an innovation. It depicts a mythical personage which also appears on a variety of vessels. The remaining figurines are clearly derived from an earlier local tradition and show no similarity with any Nievería-style human representations on face-necks or effigy jars 1. The Lima style as a whole is poorly represented in the archaeological record, probably owing to centuries of depredations of archaeological sites in the densely populated Rimac valley, although the adjacent valleys also lack important pottery assemblages in that style. However, from the scant remains we know that the style was quite vigorous and innovative. But it is possible that the innovative imagery of the Lima style was the expression of a religious orientation in which figurines played no part? Maybe it was simply a question of fashion? We simply know too little to decide.

1

See Figures 52-55, Chapter 9, Chancay Group 2. 74

CHAPTER 5 THE EARLY MIDDLE HORIZON ON THE CENTRAL COAST: EARLY MH GROUPS 1 AND 2 INTRODUCTION

Although it was Max Uhle who first formulated a scheme classifying the Peruvian past into an "Early Period" of localised, regional cultures, a "Middle Period" of cultures influenced by Tiahuanaco, followed by a "Late Period" of regional cultures, followed by the spread of the Inca culture, the term of "Horizon Style" was first coined by A. Kroeber (1944: 108). It is a style "showing definably distinct features, some of which extend over a large area, so that its relations with other more local styles serve to place them in relative time..." Later Tello (1970 [1931]) identified the site of Huari 1 in the Ayacucho basin, as the center from which the influence of Tiahuanaco spread to the rest of Peru. The Middle Horizon is the period between about 650/700 to 1000/1100 AD during which highland influences, originating at Huari, spread to the rest of the territory of present-day Peru. This resulted in a breakdown of the old order: cultures which had dominated large areas, like Moche in the North, Nasca in the South, and to a lesser degree the Lima Culture on the Central Coast, went into an obvious decline or disappeared altogether (see Chronological Chart 2.2). The nature and modalities of the spread of Wari have been the object of an ongoing debate, touched upon in a large number of publications. We have mentioned its effects in Volumes I and III of this study, where we have also discussed the chronology established by Dorothy Menzel for the Middle Horizon, based on the stylistic analysis of the pottery (1964, 1968 a, b). In spite of its various problems and shortcomings it is still the one used in the archaeological literature to-day, even if the absolute dates are open to discussion (see, for instance Shimada 1990). Menzel subdivides the Middle Horizon into phases 1 to 4, the first two phases being further subdivided into sub-phases A and B. But the use of Menzel’s framework presents difficulties 2 a) because of the limited number of datable assemblages at her disposal and b) because she mainly deals with elite pottery, whilst figurines are often, by their very nature, rather humble objects. Finally Menzel’s 1964 analysis focuses mainly on phases 1 and 2 of the Middle Horizon, the later two phases (3 and 4) are only briefly examined for the South Coast. Unfortunately the bulk of Central Coast figurines dates to these later phases. Nor do the figurines fit happily into the four-phase framework, with many groups straddling the divide between phases. We have seen that during the later EIP figurine production on the Central Coast was very limited. Towards the end of the Lima culture, the Nieveria pottery already shows clear highland influences, even though the various figurines found in association remain rooted in an earlier tradition 3. During the first two MH phases Central Coast figurines are still fairly scarce, in spite of the outside influences clearly acting on the local substratum. The 34 figurines are divided into the following groups: • Group 1: Figurines possibly originating in the South/Central Sierra and Associated amulets. In accordance with the now common practice the site is spelt Huari, whilst Wari refers to the culture. See Vol. I, Chapter 7: Introduction. 3 See Chapter 4: Lima Group 3. In my 1995 PhD, this group was included into the early MH figurines. 1 2

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•

Group 2: Wari-Pachacamac and related figurines: Sub-group 2.1: Figurines belonging or related to the Wari-Pachacamac style. Sub-group 2.2: Figurines related to the Wari-Pachacamac figurines and other local traditions.

EARLY MH GROUP 1: FIGURINES POSSIBLY ORIGINATING IN THE SOUTH/CENTRAL SIERRA Table 5 Plates: 14, 15 Sample: 18 Figurines + 6 associated (examined 18) Measurements Maximum Minimum Median Height (16) 25.1 cm 12.0 cm 18.5 cm Width (15) 9.8 cm 4.5 cm 7.0 cm Thickness (15) 5.7 cm 2.8 cm 4.6 cm Weight (6) 400 gr. 110 gr. 290 gr. The six associated amulets measure between 4.7 cm and 2.9 cm in height and 2.7 cm and 0.9 cm in width. GROUP CHARACTERISTICS

A fairly homogenous group of standing figurines, but which show a greater than usual variation in size. Although a division into sub-groups is not possible, there is a difference between stockier specimens, often with a round head (e.g. 292, 779, SAC 469/Pl.14) and narrower ones, with elongated heads (e.g. 549/Pl.14, 421/Pl.15 etc.). The head, fairly large (two-fifths to one third of total size), is covered by an appliquéd headdress (nine figurines), or has an elongated crown (six) or a low, rounded crown (two), plain or showing hair or a painted headdress. In profile the head is totally flat (cranial deformation?). The face, sometimes painted a lighter colour (292, 779/Pl.14) has normal proportions and shows some modelling (eye-sockets, eye-brows, cheeks, mouth area); in addition there are painted tearlines, spilling down onto the shoulders, still visible on eight figurines (e.g. 511/Pl.14, SAC 351/Pl.15). The eyes are large, elliptic, with molded lids and eyeballs, which can be painted white, with black pupils. The nose is mostly small, beautifully modelled, slightly hooked, with nostrils (which can be perforated) and alae (e.g. 779/Pl.14, 828/Pl.15); but it can also be bulbous (511/Pl.14) or sketchily modelled (421/Pl.15); note the black line painted along the nose (1669/Pl.14). The molded mouth has curvy lips (e.g. 292/Pl.14), more rarely shown as an incision (e.g.800/Pl.14). Ears are flap-like, semi-circular, (near rectangular on 292), hidden by circular ear-plugs (four). A painted area below the headdress may represent hair (e.g. 549, 511, 292/PL.14), though on 549 it also features painted circles; it may have been added later on the heavily restored 779. Rounded to pointed chin, not jutting; the neck is generally only shown at the front and sides. The body is narrow—though with shoulders varying in width—, straight-sided, slightly tapering towards the feet; in profile it is slightly convex from side to side (e.g. 549/Pl.14) to flat and straight (e.g. 421/Pl.15). Modelled arms, starting high on the shoulders on some specimens (e.g. 549, 511/Pl.14, SAC 351, 421/Pl.15), always folded at the waist, often decorated with painted circles. Flat hands with four or five painted and/or incised fingers of equal length. The legs are fairly short, conjoined, with a groove showing the divide (exceptions: SAC 469/Pl.14 with completely divided legs; on C131, 1669, 779/Pl.14 they are divided by a narrow incision); all show some modelling of the knees, with a decor of painted circles (parallel lines on SAC 469/Pl.14). Feet are very small, slightly protruding at the front and tapering upwards at the back (e.g. 549, 292/Pl.14, 421/Pl.15), exception: 1669/Pl.14; painted toes are common. The umbilicus is never shown. Genitals are generally not indicated. SAC 352, 292, 1669/Pl.14, 1083/Pl.15 are female (SAC 352 with a raised genital area, the others with an incised vulva, a perforation on 1083); 829/Pl.15 is a male with a modelled and perforated penis and appliquéd testes; all (except 800/Pl.14) have modelled and/or painted nipples (421: only modelled, SAC 309: only painted?). Back: no features.

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Clothing, accessories: Six figurines wear an appliquéd headdress, six of them the typical four-picos hat (only two picos are shown on 292/Pl.14 and possibly on C131/Ol.14); on 511/Pl.14 an additional appliquéd band hangs down one side and the picos are decorated with tear-shaped motifs (traces of the same design on 549/Pl.14); 1669, SAC 307/Pl.14 have a simple band appliquéd across the forehead. On 828/Pl.15 the top of the head-dress is broken off. The specimens with an elongated head have painted head-dresses, decorated with vertical stripes (1670/Pl.15), or circles (SAC 351, SAC 309/Pl.15), plain on 421/Pl.15, damaged on 1083/Pl.15. Clothing or body-paint: No fewer than 11 specimens (the paint may have disappeared on others) show a decor painted in the front, generally consisting of circles on the chest, arms and knees, as well as a large waistband. The circles often show a cross-and-dots design, while the belt has wavy bands and dots. 828/Pl.15 wears a necklace of appliquéd and perforated elongated beads. Circular ear-plugs are worn by four figurines (appliquéd on 549, 800, SAC 352, painted on 511/Pl.14). Note that the original painted decor is often damaged. Manufacture: At least 10 specimens, probably more, have a mold-made front and a handmade back. All except one (or possibly two) of the examined figurines are hollow, though many are fairly thick-walled, so that it is not always clear whether the perforations act as airholes. All the figurines, except the solid specimens and two fragments, have perforations just below the shoulders front and back, making a total of four air-holes. In addition, some figurines have air-holes at the nose, ears, vulva and/or anus. All the examined specimens, with the possible exception of 511, are made of a very fine grained paste with no visible temper, varying in colour from buff to pale orange. The soft, chalky paste appears to have been fired at low temperatures or not fired at all. Only very few specimen have a pale orange to red slip; the decor of black, white, pinky cream and/or red is applied with a fugitive paint, often poorly preserved. Associated: 1655, 1656, 1657, 2120, 1909 a, b Very small figurines, hand-made in a distinctive ware with no apparent temper. Three specimens have holes through their heads for suspension, probably as amulets; the crown is rounded. Eyes and mouth are rendered by deep, straight incisions (diagonal on 2120), the nose is prominent, 1655 has punctated nostrils; ears are rounded flaps, small on 1655, large on 2120, both perforated; 1655 has painted vertical tearlines. The short body is nearly featureless; 1655 has five parallel incisions on each side of the chest, indicating fingers, 1656 has the left arm folded downwards (right arm missing); all have an incision indicating conjoined legs, 1655, 1656 with tiny feet, tapering upwards at the back. Genitals: On 1656 and 1657 a small vertical incision may indicate the vulva; breasts and umbilicus are not shown. 1655 has an appliquéd pointed headdress, 2120 has incisions on the crown, probably indicating hair. DISCUSSION

Special features This group marks the first appearance of mold-made figurines on the Central Coast. Although mold-made figurines are standard in Moche (from Moche III onwards), the technique only reaches the South Coast during MH1, with Robles Moqo face-necks (Menzel 1964:28). On the Central Coast, after this first appearance, mold-made figurines only become the norm with the Supe-type figurines during the later MH (see Chapter 7). After the incised or painted eyes of earlier Central Coast groups, modelled eyes, elliptical in shape, showing lids and raised eyeballs—often painted white, with black pupils—are a notable innovation, which becomes common in later periods. A noteworthy feature, though not shared by all the figurines, is the carefully modelled face with its characteristic pointed nose and curly lips, best exemplified by 292/Pl.14 and 828/Pl.15. This face appears to originate in Tiahuanaco (Eisleb and Strelow 1980:260; Posnansky 1957: Vol. III, Pl. LXVI B-H), and is somewhat different from the beautiful naturalistic faces of both Conchopata (Cook 1984-1985:figs.1-4) and Robles Moqo (Milla Batres 1975:F/221). It becomes more common in Viñaque (Bennett 1953: Pl.7 f, i, j, m; Pl.8

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a-e) and Atarco (Lavalle 1984:156 left). 511 has a decidedly bulbous nose which is totally atypical. Tear-marks spilling down to the shoulders, as featured on five figurines in this group (511, 779, 1670, SAC 351, SAC 309), do not occur on any other figurines or face-necks. 1669 and SAC 467 have simple parallel tearlines on the cheeks only, a much more common representation during the Middle Horizon. Four-cornered hats are well documented for the whole of Peru during the Middle Horizon. One such hat was excavated at Nievería (Gayton 1927: fig.8). Many textile specimens, in a variety of weaving techniques, are found in museum collections; they are also frequently represented on modelled jars (Anton 1972:fig.205; Benson and Conklin 1981:93; Dockstader 1967: fig.141, bottom; Lapiner 1976: fig.576; Sawyer 1975: fig.176; Schmidt 1929:267, bottom left; etc.). One such jar (Topic and Topic 1984:fig.9a) was found at Cerro Amaru with a similar figurine (P296 1). The hat rarely occurs on figurines in other Central Coast groups (see 426/Pl.16,Early MH Gr.2/Wari-Pachacamac), though it is more common in L:ate MH Gr.1/ Supe (see Pls. 22, 28 ) and is also relatively rare on figurines in other areas (see Vol. I, Pl. 43; Vol. III, Plates 66, 73, 75). In her introductory study to an exhibition of four-cornered hats, Frame (1990) explains that these hats may originally be derived from animal ears, hence the “unusual pile surface 2”, representing pelage or plumage. The geometric grid of the four cornered hat, apparent in both its structure and in the organisation of the decor, probably expresses an "encoding of systematic information". Four-cornered hats are worn by high-status males. They date mainly to MH2, but were probably still in use during the latter part of the MH. Four figurines (549, 800, 511, SAC 352)—possibly more—wear four-cornered hats. There are a number of features worth noticing: • The hats here are not strictly symmetrical, being slightly flattened at the back (no example of such a hat is illustrated in the literature). Moreover the two back corner picos are shorter than those in front (as in Lapiner 1976:fig.573, bottom left). • The picos are higher and placed closer together than on any of the illustrated examples. • On 511 the front picos are painted with a pear-shaped design in white, outlined in black, divided by a black wavy line, with black filler dots. A similar, barely visible design appears on 549. These motifs are quite unlike the strictly geometric designs, dictated by the various weaving techniques, seen on published hats. • 511 has a braid or tassel, attached to the crown and hanging down one side to the shoulder, another unusual trait. • Unlike the face-necks listed above, the four-peaked hats here appear to be perched very high on somewhat elongated heads. On 549 a textile head-band, decorated with painted circles, is worn below the hat, on the forehead. Frame does not mention the existence of two-peaked hats—as opposed to four-cornered hats—which are square but only have two peaks (see Frame 1990: Pl.4; Lapiner 1976:fig.573 bottom right). One figurine (292/Pl.14) definitely wears such a hat. Considering that the hats were made separately and then appliquéd on the figurine, it is unlikely that the two-peaked version is a simplified representation of the four-cornered hat. The two-peaked hat on 292 is also decorated with white circles. Regarding the sex (male) and high status connotation of the hats, pointed out by Frame and Menzel (1977: 31): both SAC 352 and 292 (with four and two-peak hats respectively) are females, with an incised vulva, the latter with the same breasts as some of the figurines with four-cornered hats. As for the status, it is not as clear here as on some of the Robles See Vol. III, Plate 66. Tiahuanaco hats are knotted, whilst Wari hats are pile- or plush hats, i.e. "with supplementary pile yarns caught into the knotted foundation".

1 2

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Moqo/Pacheco face-necks wearing four-cornered hats, who also feature elaborate face-paint and rich garments. However this group also stands out amongst contemporary figurines for its body paint and decorated loin-cloths which may signify higher status. Other hats include a flat cap with an appliquéd brim over the forehead (1669, SAC 307/Pl.14) and elongated caps, decorated with stripes or circles (1670, SAC 351, SAC 309/Pl.15); they are reminiscent of Tiahuanaco style hats (Frame 1990:Plate 2, Fig.4). Both the four-cornered hats, perched high on the head, and the elongated caps may indicate an elongated cranial deformation. This deformation, called deformación por llautu or por compresión circular (Weiss 1962:26, Reichlen 1982) is typical for the Highlands and documented at Huari itself (Brageyrac and Gonzales Carré 1982:8), but practically unknown on the coast 1. Diez de San Miguel (quoted by Weiss and Rojas Ponce 1968:307) explains that this deformation was carried out "...solo a fin de que cuando séan hombres se les encajen en las cabezas unas caperuzas largas y angostas...de manera que en lugar de hacer las caperuzas conforma a las cabezas, hacen las cabezas al talle de las caperuzas". The nine specimens with this deformation also have a longer, narrower body. Links with other groups Distinctive features which occur on all or some of the specimens, as well as on the associated amulets (elongated shape, modelling of the shoulders—with perforations through them—and the knees, small feet sloping upwards at the back, straight, parallel tear lines, appliquéd hats), have their equivalent in early MH figurines Type A figurines originating in the South Central Highlands and also found on the South Coast (see Vol. III, Plates 34 and 71). SAC 495 also shares the painted collar and parallel lines painted across the legs with 2108, 2117 (see Vol. III, Plate 34). The main difference with similar Highland figurines lies in the use here of a ware or wares, characterised by an apparent absence of temper. This could be the Caja ware of the Huancavelica area 2 or the Fine Orange Ware, variants of which were encountered at Wilkawaín, Callejón de Huaylas (Bennett 1944) and at Cerro Amaru, Marcahuamachuco (Topic and Topic 1984). The latter can contain some temper and is harder, probably fired at higher temperatures than the majority of the figurines in this group. Figurines iconographically related to this group, made in variants of that same ware are: P296 from Cerro Amaru, 2131 and P383 and the amulets P380, P381, all from the Callejón de Huaylas (see Vol. III, Plate 66). There are also similarities with several specimens excavated by F. Meddens in the ChichaSoras region of the South Central Highlands. Compare the face and posture of 292 and others with C86, the lower body of the male fragment (829) with C87, the high caps of 1083 and 421 with C93 (see Vol. III, Plate 75). Similarities with other groups include : • A black line along the bridge of the nose of 1669, occurring on many late Nasca (see Nasca Gr.3 in Vol. III, p.47 + note 1) and CC-MH figurines, such Supe (e.g. 2037/Pl.22, 351/Pl.23). Huaura 1 (e.g. 761, P478/Pl.31), Huaura 2.1 (e.g. 551/Pl.33), as well as on NC MH figurines (see Vol. I: P116/Pl.41), South Central Highlands, etc. • Rectangular ears (292) are also a late Nasca or early MH feature. • Parallel lines, painted across the arms and especially the legs, as on SAC 469 first make their appearance on highland specimens (see the atypical 2176 in Vol. III, Pl. 35). They become common in later Central Coast groups such as Huaura and early Chancay. The circles painted on the legs of this group could be a variant of the same decor.

In a study of Late Intermediate Period skeletal material from the Central Coast only 5 out of 274 skulls, i.e. less than 2% showed this deformation (Reichlen 1982:382). 2 For a description of the Caja ceramic group see Vol. III, p. 162. 1

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• Circles painted around the nipples (e.g. 292, 1669 etc.) are rarer, but they occur on the same highland specimen( 2176 in Vol III, Pl. 35). • Variants of the wavy-line-and-dot motif on the belt of some figurines also occurs on North Coast MH figurines (see Vol. I, Plate 40). Context: There are no known associations. Geographic Distribution Provenances Certain Fairly reliable Unverifiable

Huaura Valley Chancay Valley Rimac Valley 4

2

2

Lurín Valley

Others

2

1 Paramonga, Pativilca V. 1 North Coast

In the absence of any certain provenances, the exact origin of this group is problematic, though there are a number of reasons to include them in the Central Coast sample: At least four figurines (1670 and three amulets) were acquired by Lothrop in Huacho and therefore probably found in the area (see Appendix 1: Collections). Another four also have a Central Coast provenance (549 from Paramonga, 824 bears the inscription “Andoy”, said to be an hacienda near Lima, two from Pachacamac). 828, 829 bear no inscription, but they were stored at the MPCS with material from the Horkheimer excavations in the Chancay Valley, so they may well come from the same excavation. The two amulets found in Uhle's assemblage from Nieveria (P470 and P471/Lima Gr. 3) are practically identical with 1909a and b in this group. I have also seen a similar figurine, said to come from the Lurín valley. One figurine (1669) may have been acquired on the North Coast. Another pointer for a diffusion from or near the Central Coast is—by default, but usually very symptomatic—that no similar figurines are found in regional Peruvian museums outside the Central Coast. And lastly, no fewer than five specimens come from the collection of Santiago Agurto Calvo (SAC), a collector, resident of Lima. But apart from the figurines we have no evidence that the fine, near temper-less ware, characteristic for this group, was produced on the Central Coast. As already suggested it may come from the Caja area (see above). Another unique feature is that these figurines are moldmade, a feature hitherto unheard of on the Central Coast, but which was becoming common in the South Central Highlands during MH2. The many stylistic similarities with South Central Highland figurines point in the same general direction. But we see that related figurines were also found on the South Coast, the North Highlands (at Cerro Amaru and the Callejón de Huaylas) and in the Chicha-Soras basin. So it is possible that the group originates in an area between the Central Coast and the Ayacucho Basin and was exported at a time of great cultural mobility, mainly during MH2. Chronology Considering the variants within the group—e.g. between specimens with four-cornered hats and those with elongated caps, which can be due to spatial or temporal differences—the time span covered by this group may be fairly long. The Chicha-Soras material (F. Meddens, personal communication) shows some of the same variants and here the differences are temporal: a figurine with a three-peak bonnet (C86) dates to MH2, the head fragment with elongated cap (C93) to MH 3/4 (see Vol. III, Pl. 75). Other very similar figurines like P296, from Cerro Amaru, Huamachuco (see Vol. III, Pl. 66) or 2131 from Wilkawaín, Callejón de Huaylas (see Vol. III, Pl. 66) also probably date to MH2. Finally the two amulets from Nieveria (P470 and P471/Lima Gr. 3) can be considered contemporary with the Nievería style (Lima 8-9/MH1). To sum up: the similarities with the early MH South Central Highland figurines point to MH1B. Considering the variants within the group, the group probably dates to MH1B-MH2, with some figurines possibly dating to MH3.

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EARLY MH GROUP 2: WARI-PACHACAMAC AND RELATED FIGURINES THE WARI-PACHACAMAC POTTERY STYLE

The Wari-Pachacamac style was defined by Menzel (1964) on the basis of Uhle's excavations at Pachacamac (Uhle 1903) and of specimens illustrated in Schmidt (1929). The style is also found in the Rimac valley and at Ancón, and its influence is evident as far south as the Ica valley (known as "Ica-Pachacamac"); to the north there are isolated finds in the Supe, Casma and Chicama valleys (Menzel 1964:55; 1968b:85). However we shall see that the figurines come mainly from Pachacamac itself. Besides some local antecedents, particularly the Nievería style, Menzel identifies Wari stylistic elements in the Wari-Pachacamac style. Basically rooted in the Conchopata and Robles Moqo traditions, these elements show strong though independent links with both the Viñaque style of the Ayacucho basin and the Atarco style of the South Coast. Like these styles, Wari-Pachacamac spans Middle Horizon 2, with two distinct sub-phases (Menzel 1964:55ff). No figurines are mentioned by Menzel and indeed—considering the wealth of looted or excavated material from Pachacamac—they are relatively rare. But modelled human forms are extremely common and appear on : • face-necks (Schmidt 1927:267-2, 280-1,2, 283-1, Taf.III-1), including face-necks with modelled, seated bodies (Schmidt 1929:Taf.III-2; D'Harcourt 1948:fig.128); • single-spout bottles, with a modelled face below the spout (Schmidt 1929:280-3, 281-3,4,); • collared jars, head cups or double-spouted bottles, with bodies modelled like human heads (Schmidt 1929:275-1, 276-3, 277-1,2, 278-1,4); • double vessels with spouted bottle and modelled figure (Schmidt 1929:265-2, 2711,2; Wassermann-San Blas 1938:279, fig.481) and spout-and-bridge-to-modelledfigure (Schmidt 1929:266-4). In this sample of 10 figurines only four fully represent the mixture of traditional and imported traits which make up the Wari-Pachacamac style, with a further six sharing enough characteristics to make up a Wari-Pachacamac group. Most of these have a certain or probable Pachacamac provenance. EARLY MH SUB-GROUP 2.1: FIGURINES BELONGING OR RELATED TO WARI-PACHACAMAC

Table 6 Plates 15, 16 Sample: 8 figurines + 2 associated (examined 9) Measurements Maximum Minimum Height (6) 17.2 cm 13.7 cm Width (7) 7.0 cm 5.0 cm Thickness (5) 5.4 cm 3.6 cm Weight (5) 260 gr. 100 gr.

Median 15.6 cm 5.2 cm 4.2 cm 170 gr.

GROUP CHARACTERISTICS

Middle-sized, narrow standing figurines. The head is relatively small, mostly about one quarter of total height; the rounded crown shows very little flattening in profile, i.e. no cranial deformation. The face, mostly broadening towards the neck, has minimal modelling; 1533, 1518 have modelled nose-to-chin lines. Face-paint consists in tear-lines (431: wavy, double, 451: straight, double), a diagonal cross on the chin (431); five figurines have traces of red paint on the face. Eyebrows are shown on 431, 1533, 782. Eyes are large, elliptic; painted, some with black lids, white eye-balls, mostly with black pupils not touching the lids (e.g. 431, 1533); 451, 436 have lids made by grooves and eye-balls painted white, no pupils. The nose varies in size and shape; no nostrils or alae. The mouth is a straight incision; wider, cutting into the hollow core (436). Ears are mostly rounded tabs; elongated, with painted circles (earplugs?) on 431; conch-like on 782; missing on 780, 441. The chin is rounded, close to chest

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(431, 451, 436) or jutting (1518). Hair: 431 and 1533 have painted hair with a straight hairline over the forehead. Five figurines (431, 1518, 451, 436, 780 – see ) show painted hair at the back. Neck : Short, indicated by a depression (front and sides, hardly at the back).

431

1518 451 436 Figure 8: Hairstyles of Wari-Pachacamac Figurines

780

The cylindrical body is elongated, with straight sides, more globular (780); no shoulders. Arms painted (431, 1533?, 782) or modelled, folded at waist; hands mostly only shown by incised fingers (three or four). 431 has large painted, stylized hands outlined in black, with five fingers of different length and white fingernails; 782 has painted circles in lieu of fingers. The legs are completely separated, mostly very short, slightly longer on 1518, 782; feet are either not indicated or shown as small semi-circular protuberances (431, 780). The umbilicus is not shown. Only 431 and 1518 have breasts, placed at the sides of the chest, prominent on 431, smaller on 1518 and genitals (female), 431 with an outlined, raised pubic area and deep incised vulva, 1518 with two small incised concentric circles. The back has no features, except for the modelled arms, painted hair and clothing (see below). Clothing and Accessories: 1518 wears a painted skullcap, divided into two halves, one red, one white, and outlined in black (not visible on illustration). 1533 is wrapped in a cotton textile. 436 has a belt and vertical band at the back with an incised broken-line-and-dot design; 780 wears a short sleeveless tunic, painted in front only; 441 has a design of black squares with diagonal lines painted on the abdomen; 782 is painted white to the waist. Painted circles on the ears of 431 may represent ear-plugs? 780 wears a collar or necklace of painted trapezoidal beads, each with two dots one above the other and bracelets, shown by transversal lines (with dots?). 431 and 1533 are attached to split-cane litters. Manufacture: Hand-made, mostly rather crude figurines; all are hollow, with two lateral airholes behind the upper arms (four – 451 with an additional air-hole through the mouth) or at the waist (three). The wares differ, from fine to coarse, with little or no burnishing, resulting in a matte surface, often with a thin red slip. The decor is incised or painted in shades of red, white, grey. Associated 1428: Cylindrical figurine with a circular base. Rounded, undeformed head with painted cap and side-locks. Eyes and mouth as 431, nose with nostrils and alae, no ears, two short, vertical tear-lines on each cheek. Painted arms, hands and nails (longer middle fingers, pointed thumbnails). Legs apparently hidden by the long tunic, with a belt decorated with a repeat design; one sleeve shows a meander motif, the other a circle with central dot. The figurine is handmade, hollow, with two air-holes at the base, and polychrome decor. 426: Squat figurine with large head, featuring four peaks (head-dress?), no cranial deformation. Typical painted Wari eyes and eyebrows, hooked nose, large upturned incised mouth, large rounded tab ears, modelled nose-to-chin lines. Neck indicated by a groove, no shoulders. The body is very broad in profile, with bent knees, as if the figure where sitting. Arms, folded at waist, show some modelling, four incised fingers; legs completely joined, also at the feet, protruding at the front and back, with incised toes, six in total. No genitals, breasts, umbilicus. The figurine is hand-made, hollow, with one air-hole on top of the head, two at the shoulders. The surface colour is terracotta, with greyish black and white decor.

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DISCUSSION

Only 431, 1533, 1518 and the associated 1428 really show clear Huari-style traits, but the remaining specimens share the main characteristics (the undeformed rounded head, white eyeballs, with or without black pupils, cylindrical, elongated body) and mostly come from Pachacamac. Special features The painted arms outlined in black, showing the shoulder joints and marked break at the elbows (431, the associated 1428) are a distinctive Wari-Pachacamac trait (Schmidt 1929:2671 and 271-2) 1. 431 and 1533 are fixed to a litter, probably representing a funerary litter (see below, Context). Links with other groups This group combines stylistic features of local origin, with others imported from the South Coast Atarco style. There is also a clear resemblance with the relatively rare Viñaque figurines. Earlier local features: • The elongated tubular shape with very short stump legs (cf. Lima figs. 1999, 696/Pl.11) • The position of the air-holes behind the upper arms or at the waist (cf. Epiformative and Lima figurines, Chapters 3, 4). • 451 and 436 show decorative motifs, executed in broad, shallow grooves, characteristic of the Teatino style (see Chapter 6), but the shape of the body is typical of Wari-Pachacamac and they are said to come from Pachacamac. Interestingly I have also noted that the paste contains mica, like several Teatino figurines. Uhle's material from Gravefield I at Pachacamac contains at least one Teatino vessel (see fig. 14, Chapter 6). The question is: were these specimens brought here from Teatino or were they produced locally? The latter would better explain the shape of the figurines, but not their paste. Wari – mainly Atarco - derived features • Undeformed head, white eye-balls with or without central black pupils: but on Wari-Pachacamac figurines (unlike the face-necks!) these features do not have the same life-like quality as some choice Atarco specimens (see Vol. III, Pl.36: 686). These traits are also typical for Viñaque human representations (Bennett 1953: Pl.7M; Benavides 1984: Lám. XXII e). • Double tear-lines (431:wavy, 451, 1428: straight), also occur on Atarco and -related figurines (Vol. III, Pls. 36, 37, 38). The elongated, near rectangular ears are also well documented on Nasca 9 and Atarco figurines. • The hair hanging down the back (431, 1518, 780) may be borrowed from Atarco, though it also occurs on Lima figurines, where I suggested that it may be derived from late Nasca (see Vol. III, Plates 30, 36, 37). • Painted hands, with longer middle-finger and occasionally a pointed thumbnail are typical features inherited by the Atarco style from Nasca. On the WariPachacamac specimens (431, 1428) the white nails lack black dots or edges, typical for Atarco (see Vol. III, Plates 30, 36, 37). • The diagonal cross painted on the chin and prominent breasts (431) also appear on a figurine (19) without known provenance, but probably from the South Coast (Vol. III, Plate 38). 1 The specimen shown in Schmidt (1929:267-1) could be a figurine, though Schmidt calls it Tongefäss, i.e. a vessel. Note the legs, with pronounced knees and incised toes, like those of the associated 426.

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Context As these figurines are mostly said to come from Pachacamac, with its extensive burial grounds, it is likely that they all came from burials. We have precise data only for 1533, the wrapped figurine on a litter, which was buried in a large mummy bale (Fleming, Miller, Brahin 1983). The remains, in a flexed position, were those of a child, aged about twelve, probably female, who had died of a brain disease. Other objects in the bundle were ceramic vessels, baskets, weaving implements, as well as a wooden figurine also on a litter (see Appendix 3: Gravelots). Funerary litters are very common during the preceding Lima culture: it is surprising to find two "dolls", one ceramic (1533), the other wooden, on litters and ready for burial, associated with the body of a child! Geographic distribution There are two certain and six fairly certain provenances, all from Pachacamac. 1533 comes from a well documented gravelot from the "Oldest part of Gravefield I" at Pachacamac (see Appendix 2: Sites). 1518 bears Uhle's entry "probably from Gravefield I". The associated 1428, with its distinctive dress, was excavated in Pachacamac by huaqueros employed by Bandelier 1. It is very likely that 431, 451, 436 collected by Baessler also came from that site. Chronology The following elements allow us to date the group mainly to MH2, possibly MH3: • The resemblance with Atarco and Viñaque and related figurines, dating mainly to MH2. • The retrieval of 1533 from the "oldest part of Gravefield I" 2. The finds in that area date to MH2B and MH3. The flexed position of the corpse and the mummy bale with a false head (Fleming, Miller, Brahin 1983:150) tally with these dates (by analogy with Ancón, see Menzel 1977:44). • Tentatively I suggest that the motif on the belt of 1428 is a variant of the Atarco (Chakipampa derived) Fleur-de-Lys, typical for MH2 (Menzel 1964:53 and fig.4a). • The white platelets with two black dots making up the necklace of 780 are another common design of the earlier part of the MH, especially common in Viñaque (see Lavalle 1984:128). • The Teatino-style decor (451, 436) would indicate that the group survived into MH3. • The associated 426 bears some resemblance with 542/Pl. 35/Huaura 2.2.1 a figurine with two sets of arms (a feature normally dating to LIP 2/3) tentatively classified as Huaura (see Chapter 8). So 426 may well date to the later MH. But on the whole I believe this group to date to MH2. Although the influence of the Atarco style makes itself felt on the iconography of Wari-Pachacamac figurines, it is much less strong than on the remaining pottery vessels. This could mean that the figurines were part of a traditional local funerary context, which remained outside the new mythology represented by the religious icons of the Wari world.

In his Field notes, Bandelier mentions, amongst the pottery excavated at Pachacamac "human figures, excellent in matters of dress "(MS 1892:202). These may well include this figurine and huacos B 504, B 506 at AMNH. See also Appendix 1. 2 According to Fleming, Miller, Brahin (1983:150, caption) the mummy bundle is listed as "in front of the Temple of Pachacamac". However the catalogue entry for the figurine is definitely as stated; and Stearns (1967: Table I/4) gives the same provenance for the mummy. 1

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EARLY MH SUB-GROUP 2.2: FIGURINES RELATED TO WARI-PACHACAMAC AND TO OTHER LOCAL TRADITIONS

Table 7 Plate 17 Sample: 13 figurines + 2 atypical + 2 associated (examined all) Measurements Maximum Minimum Height (9) 19.0 cm 12.3 cm Width (10) 7.2 cm 4.4 cm Thickness (12) 6.1 cm 3.4 cm Weight (6) 410 gr. 170 gr.

Median 16.5 cm 6.5 cm 4.0 cm 340 gr.

GROUP CHARACTERISTICS

Heterogeneous group of elongated standing figurines. The head measures between one third and one quarter of the total height; the crown can be rounded (e.g. 1507, 440), straight (e.g. 518, 94), or widening towards the temples, with signs of bilobation (227, 2009?); all except 440 show some fronto-occipital deformation. The face varies greatly in shape, mostly lacking modelling, six specimens are damaged; four specimens (518, 94, 1031, 227) have a punctated decor around the eyes and/or on the cheeks; red paint on the face of 256. Eyebrows, modelled, only occur 256 and 227; eyes are mostly circular, lacking lids, more or less bulging (seven, e.g. 440), incised (442); 1031 has a horizontal incision across the raised eyeballs; 256 and 2008 have elliptic eyes, the latter with thick appliquéd lids. When not damaged, the nose it is mostly large, often high-rooted, with nostrils but no alae. The mouth is a simple incision (e.g. 1508, 1499), or appliquéd, with an incision for the opening (e.g. 442, 534, punctations on 1031), absent (broken off?) on 227, 2009. Ears (small tabs) only occur on 442, 256, 440. 1031 has incised lines on top of the head and at the back, indicating hair. The chin can be straight or rounded, appliquéd (1507, 534), thickened (2008), totally absent (518, 94); never jutting in profile. The neck can be indicated by a groove (e.g. 256, 440, 2008), but is often absent (e.g. 1507, 518). The elongated, straight-sided body is slightly flattened in profile (e.g. 256, 518), sometimes tubular (e.g. 1507, 440). The short arms are appliquéd, extended downwards (nine specimens, including 1508), folded over the abdomen (2009, 534) or upwards on the chest (2008, 1499). Hands are mostly indicated by incised fingers, varying in number (e.g. 256, 94) or absent (e.g.227). Legs are either short stumps, completely separated, terminating in a rounded tip or flattened base (seven specimens, e.g. 256, 440) or only tiny protuberances on the figurines with punctated decor like 94, 1031). Genitals: Three specimens are female, with the vulva indicated by a hole (440) or an incision (1508, 534); 442 is male with one testicle showing, the rest have no genitals. Five specimens have fairly prominent breasts, placed unusually high (1507, 442), and to the sides (440), low and close together (1031). No umbilicus. Back: no features. No clothes or accessories. Manufacture: The medium-sized figurines are hand-made; eleven specimens are hollow, four are solid, a further two may be solid, though they have perforations. Air-hole positions vary: shoulders (four), behind the upper arms (three, one of them also at the vulva), at the waist (three, one of them also through the forehead), the chest (one). The wares also vary, but are mostly rather coarse, with minimal smoothing or burnishing. Many have an eroded surface, with only traces of the original finish. The colours range from orange through shades of terracotta to brown; four figurines are black or grey. The decor is simple, modelled or incised. Four specimens with a punctated and incised facial decor form a sub-unit within the group. Atypical: 95: Solid figurine, concave and narrow in profile. Facial features chipped off, one perforation through the forehead (others broken?). Arms, now chipped off, were folded upwards; legs broken. Differences with the main group include the concave profile, a large umbilicus, an incised genital triangle and vulva and the incised necklace showing two rows of circular beads. The ware is black with an eroded surface.

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79: Solid, flat figurine. The head is flattened at the top, forming a ridge; features chipped off, remains of large nose; the sides of the face broaden to indicate ears with perforations. The main anomaly are the arms extended sideways and upwards; no hands, very short separate legs. Deep incision at the waist, traces of incisions in the groin (genital triangle?). Terracotta ware, eroded surface. Associated: The following two specimens were included here because they were retrieved by Uhle from Pachacamac: 1515: Coarsely made, solid figurine. Incised eyes, arms folded upwards towards face, legs hardly indicated; incised genital triangle and vulva. Protuberance at back. 1478: Figurine fragment of a head with both fronto-occipital and bilobal deformation. The lozenge shaped eyes have incised brows, lids, eyelashes and central punctated pupils; the upturned mouth shows a row of punctations, perhaps teeth. Hair is rendered by parallel incisions across the crown of the head, locks across the cheeks and half way down the back. DISCUSSION

Special features The incised and punctated decor (518, 94, 1031, 227) consists of parallel incised lines, each either with a row of dots above them or enclosing several dots. This decor is placed diagonally or vertically across the cheeks, also under the eyebrows on 227. 1031 also has dots around the eyes and replacing the more common incision on the mouth. Note also the head of the associated 1478, with incised features and hair and a bilobation, a cranial deformation unique for Pachacamac. A third of the figurines have damaged faces: there is the possibility of ritual mutilation. Links with other groups This group presents some tricky chronological problems, because it shares traits both with Early Intermediate Period (some even going back to the Epiformative) and with early Middle Horizon figurines. In fact many of the traits appear to have survived from one period into the other. Early Intermediate Period features : • A small indent in the crown of the head (2009, 2008 from Ancón) probably indicates bilobation, a feature which first appears on the Central Coast on Lima figurines (see above, Chapter 4). • The elongated body resembles some Lima Gr. 1 specimens, though here the profile is altogether flatter. • Arms extended downwards towards the waist occur on Epiformative specimens (e.g. 815/Pl.8) and on a Lima Gr. 3/Nieveria specimen (633/Pl.13). • The virtual absence of legs on some of the figurines resembles Lima Gr.3/ Nievería and Maranga figurines (cf. 518, 94, 1031 with 2327, P468, P469, 1596/Pl.13). • The high-rooted nose (with or without nostrils) also occurs throughout the Epiformative and Lima. • The punctated decor is similar to an Epiformative figurine from Tablada (807/Pl.9). Features shared with Middle Horizon figurines : • No fewer than four—possibly five—figurines come from Pachacamac, so it is not surprising that the most striking resemblance is with the Wari-Pachacamac-related figurines of early MH sg. 2.1 (above): same small head and overall elongated shape of the body. An additional shared trait are the unusually large breasts, especially when placed to the sides like on 440 (cf. 431/Pl.15). The main differences between this group and Wari-Pachacamac are: the presence of cranial deformation 86

(except for 440, but here the shape of the head may be linked to that of the body), the lack of painted eyes or of the hair or head-dress featured in the back (all late Nasca/Atarco-derived features). • Just like Wari-Pachacamac specimens, this group is also related to the Teatino group (see below, Chapter 6), though the Teatino figurines with their tapering bodies, somewhat longer legs and shallow-groove decor are very specific. Bonavia (1962:46) regards 2008 as belonging to the Teatino style. • Bulging circular eyes, lacking lids or pupils (440, 518, 227, 534) already appear on some Nievería face-necks (cf. Kroeber 1954: Frontispiece) and on a face-neck from Pachacamac (Fig.9: UPMP 26837), which might have been associated with 1515 (see below Chronology), but could also be later. Such eyes recur sporadically (see 1846/Pl. 42/Huaura Gr. 4 and others). Context Fig. 9 Six specimens come from burial contexts, two of them from documented graves: 2009 was found in Ancón grave P25, the burial containing at least one woman, associated with a gold spindle whorl, as well as a number of other weaving implements and vessels. It is not certain that 2008 comes from Ancón Grave P6 1 and we have no data about the actual burial: it contained a number of vessels as well as necklaces, but these are not sex-specific (see Appendix 3). Although 1515 also comes from a burial, Uhle himself is not clear about its associations (see below). Geographic distribution Provenances Certain Fairly reliable Unverifiable

Huaura V. 1

Chancay V. 1

Ancón 3 1

Pachacamac 3 3

Six of the twelve provenances are from Pachacamac, all of them certain or fairly reliable. The scarcity of similar figurines from the sector north of Ancón could be explained by the contemporary emergence of Teatino and Supe style figurines in those areas. Chronology The figurines in this group have a misleading archaic appearance, but are dated to MH2B/MH3 on the following grounds : Several figurines (1507, 1508, 1515, 1478) were excavated by Uhle in sectors of Pachacamac yielding mainly MH2 and MH3 material (see Appendix 2/Sites: Pachacamac). Unfortunately these specimens cannot be dated precisely, because their exact contexts are unknown: • 1507 (Uhle no. 252) is said to come from Gravefield I, generally dated from MH3 to the LIP, but was "bought from huaqueros"; • 1508 (Uhle no. 1061) comes either from the "oldest part of Gravefield I" (OPGI) or from "beneath the Temple" (see also Appendix 2: Sites). The inventory lists it as OPGI, but Stearns (1967: Table I/4) gives Uhle's nos.1044 to 1065 as "Beneath the Temple", i.e. not in the oldest part. The dates there range from MH2B to MH4. • The catalogue entry for the associated 1515 reads: "Beneath the Temple of Pachacamac, from one of the mummies, lists of objects of which are given with 26836, 26787, 29710", but the figurine is not listed with any of these 2. • As for the associated head fragment 1478, it comes from "the loosened soil" i.e. probably the “new soil” , therefore dating to MH3-4.

1 2

See Table 9, note 3 The face-neck illustrated above in Fig. 9 (UPMP 26837) has a number sequential to one of these mummies. 87

Luckily some figurines from Ancón can be dated : • 2009 from Grave P25 (Uhle excavations) is dated to MH2B by Menzel (1977:44). • 2008: In the inventory of Grave P6, under no. 5963, Uhle writes: “Black figure of clay (old type) (or is it P5, 10?)”. Grave P6 is dated to MH2B by Menzel (1964: 54); P5 and P10, the two other graves from which this specimen might come, are dated respectively to MH3 (see Menzel 1977:fig.99, from P5) and MH2B (Menzel 1964:54). • 227 comes from the Reiss and Stübel excavations at Ancón. The Middle Horizon material from this excavation mainly dates from phases MH2B to MH4 (see Haas 1986: nos.3-43) 1. Kaulicke (1983: Abb.64.9) describes it as a Teatino figurine! It is very difficult to date the atypical 95 and 79. The overall shape relates them to this group, but they are both solid, which is somewhat unusual. The incised genital triangle, large umbilicus and double row necklace of 95 and the extended arms of 79 are features encountered later (cf. Huaura 2.2, early Chancay 1.3). So they could date from MH4 to LIP 1-3? Vessels from Pachacamac with characteristics similar to some of the figurines are also difficult to date: • One vessel (Fig. 10: UPMP 26838/Uhle no. 1161a) features a punctated facial decor. It is said to come from “beneath the Temple” 2 and therefore dating to MH3 or MH4. It is quite similar to another vessel from Pachacamac, which Uhle (1903: Pl.8, fig.9) dates to the “later Pre-Inca period”. However at this point Uhle was not aware of the length of time which elapses between his “Epigonal” and “Inca” styles: amongst his “later Pre-Inca” pieces he shows a number of MH2B to MH4 specimens (Pl.8, figs.1-4, 6). The shape of Fig. 10 the vessel under discussion somewhat resembles early Ychsma specimens, dated by Bazán (1990:Lám.1, fig.458; Lám.2, 521) to MH4, but similar shapes may also have existed earlier. • Another vessel (Fig.11:UPMP 27288/Uhle no. 1656) shows some punctated decor, in this case within straight lines, somewhat similar to 94 and227. Note also the circular eyes. Its shape is similar to fig.1. It comes from Gravefield I and could therefore date from MH3 to the LIP, though a MH3 date is more likely. To summarize: Only one figurine in this group (2009) is definitely dated to MH2B and a further one (2008) to either MH2B or MH3. The remaining specimens are dated through their resemblance with Fig. 11 these figurines, with Wari-Pachacamac related figurines (early MH sg.2.1) and Teatino figurines (see below, Chapter 6) and through their provenance from predominantly MH3-4 contexts at Pachacamac. Within the group, 440, with its undeformed head, laterally placed breasts and an air-hole in the vulva (an Atarco trait), is closest in time to the earlier Wari-Pachacamac group, though several of the remaining specimens could also date to MH2B, the majority dating to MH3. But on the whole—although obviously related to the Wari-Pachacamac-related figurines of early MH Sg.2.1—this group shows none of the Atarco-derived characteristics, typical for the earlier group, such as the absence of cranial deformation, or the painted eyes and/or hands and hair (at the back). Note that at this stage there is no marked difference between the figurines from Pachacamac and those from Ancón.

1 2

Unfortunately I myself mislead R. Haas to date his no.101 (my 227) to the early EIP. This vessel is part of one of the burials from which 1515 is said to come. 88

A wooden figurine with ceramic mask from Pachacamac This specimen (fig. 12: UPMP 29450/Uhle no. 1945) from Uhle’s Gravefield I, is included in the study because of the ceramic "component": the roughly carved wooden figure is 20.3 cm high, 7.7 cm wide and ca 2.0 cm thick. It has a sketchily carved wooden head with artificial hair, to which is attached a ceramic mask. The wooden body has arms folded at the abdomen and straight, fully separated legs without feet. The female genitals are rendered by a raised area cut by a shallow groove. The ceramic mask measures 6.0 cm and shows elaborate modelling: furrows on the brow, empty eye sockets, a nose with nostrils and alae, prominent cheeks, a large mouth, originally with two lower teeth. There are traces of red pigment on the greyish pottery. The figure is dressed in a coarsely woven garment.

Fig. 12: Wooden figurine with ceramic mask, hair and clothing, from Pachacamac Small wooden figurines were not uncommon at Pachacamac: a specimen attached to a litter was found with 1533/Early MH sgr.2.1 (see Plate G1). The figure also recalls the large wooden, ceramic or textile masks representing false heads on MH2 and later mummy bundles. However, in this case, the mask is attached directly to the "corpse". This could be a symbolic "short cut" or have a different meaning altogether. A number of such figures were found at Pachacamac It is interesting to note how different the facial features of the mask is from contemporary pottery figurines. But there are similarities with late Nasca/Chakipampa-derived ceramic figurines from the South Coast: similar shape of body, attached hair, clothing (see Vol. III: Plate 33). EARLY MIDDLE HORIZON FIGURINES GROUPS 1 AND 2: SYNOPSIS

Although roughly contemporary, the two groups of early Middle Horizon Central Coast figurines are totally different, both iconographically and technically. Whilst the mostly moldmade, fine ware 24 Group 1 figurines appear to have no local antecedents and could be a direct import from the Highlands, the 27 much cruder, hand-made Wari-Pachacamac Group 2 figurines—in spite of some South Coast Atarco and Highland Huamanga, Viñaque styles influences in sg. 2.1—show links with the earlier (and later!) local traditions. The limited Wari influence on the figurines contrasts with the expansion of Wari-inspired pottery overall, particularly obvious in the Wari-Pachacamac style. The reason may be that the set of beliefs and rituals in which figurines played a part, remained outside the new religious impulses coming from Wari. Another reason could be that—as we have seen—figurines continued to play a negligible role in the area during the early Middle Horizon, just as they had during the later part of the Early Intermediate Period. But things were about to change, because outside influences—reaching the Central Coast from the North or from the South Central Highlands—acted as catalysts for the tremendous increase in figurine production during the later part of the Middle Horizon.

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CHAPTER 6 THE TRANSITION FROM THE EARLY TO THE LATE MIDDLE HORIZON ON THE CENTRAL COAST: "TRANSITIONAL" EARLY-LATE MH FIGURINES GROUPS 1 AND 2 INTRODUCTION

As we have seen, Menzel’s chronology for the Middle Horizon concentrates on phases 1 and 2. For the next two periods, it is only by establishing stylistic elements as reference points at the beginning and end of the time span—similarities with MH2 on the one hand and with Late Intermediate Period features on the other—that it is possible to visualize a chronological continuum. Even then, there is often no perceivable change between MH4 and LIP 1-2. But it seems pointless, for the purposes of this study, to tamper with the accepted chronology. It is however clear that the later Middle Horizon (MH3) brings a gradual change in the cultural cohesion of the Central Coast, with the disappearance of figurines anchored in the earlier local traditions and new outside influences making themselves felt. Eventually this leads to separate developments in the northern and southern sectors of the area. Before this parting of the ways between the two areas becomes definite, we see the emergence of some heterogeneous groupings. These incorporate local influences from the early Middle Horizon Wari-Pachacamac and derived figurines (see Chapter 5) as well as new admixtures from figurine groups such as Teatino, Supe, or even early Huaura, the latter probably more prevalent in the Ancón area ("Transitional" Early-Late MH Group 1). Although many of these figurines probably date to MH3, they are still somewhat rooted in earlier traditions, which is why they can be considered as transitional. The Teatino-style figurines form a discrete group, which shares some stylistic traits with the Wari-Pachacamac tradition, as well as with Transitional Group 1: these groups themselves are often found associated with Teatino pottery vessels. For these reasons the Teatino figurines are also deemed transitional ("Transitional" Early-Late MH Group 2). But besides these figurines, still anchored in earlier traditions, the later Middle Horizon sees a literal explosion of new figurine types. However these new groups now embark on independent developments and contacts between the area north of the Chillón valley (from the Pativilca/Supe, via the Huaura and Chancay valleys, to Ancón and the Chillón valley 1) and the southern sector (Rimac and Lurín valleys)—at least as far as the figurines are concerned— practically cease and do not resume until the end of the Late Intermediate Period. These Innovative Late MH Groups (Late MH "Innovative" Groups 1 to 3) will be studied in the next chapter.

This is a larger area than the one known as Norte Chico, which comprises the valleys of Fortaleza, Pativilca, Supe and Huaura, since culturally it definitely also encompasses the Chancay valley and the Ancón area.

1

90

"TRANSITIONAL" EARLY- LATE MH GROUP 1: MISCELLANEOUS HYBRID FIGURINES Table 8 Plate 18 Sample: 11 figurines (examined 9) Measurements Maximum Height (10) 22.9 cm Width (11) 14.0 cm Thickness (10) 6.0 cm Weight (6) 280 gr.

Minimum 12.0 cm 7.5 cm 4.6 cm 230 gr.

Median 16.0 cm 9.4 cm 5.2 cm 260 gr.

GROUP CHARACTERISTICS

Stylized standing figurines with large heads, (half to one third of total size), wider than the body, with a rounded crown (slightly bilobed on 2007, 538), often projecting at the sides (at crown- or ear level); totally flattened in profile: fronto-occipital deformation. The face is tilted upwards, flattened, wide, without modelling; traces of tear-marks on 874, 538; painted facemarkings on P472, SAC 279; traces of a darker slip on the face of 1055; diagonally incised lines from the eyes across the cheeks (96), incised nose-to-chin lines (1219). Rounded chin (straight on 1355), slightly jutting on 2007, 1219; appliquéd (1506); not shown (96); outlined in black on 538, P472, SAC 279. The features are incised, the eyes are almond shaped, with incised lids and eye-balls (2007-1219); broad, shallow incision, no lids (1055); incised, with dots marking pupils: triangular on 96, 2346; one triangular, one elliptic on 1506; straight incisions (1355); modelled and/or painted or incised eyebrows, elongated (2007 to SAC 279), not shown on others. Nose: relatively small, pointed (2007, 874); rectangular (538), aquiline (1219, 1355, 2346); high-rooted (96, 1355); no nostrils or alae, except on 1355. Small, straight, incised mouth, no mouth on 1355. Lateral projections, rounded or pointed, may indicate ears, except on 538, 96, 1355 where the projections are clearly part of the crown; on 1506 and 1055 the ears are placed at right angles to the head, with ear-plugs. The neck is shown at the front and sides by a groove (angular on 1219, 96, 1355), only in the back on 2007, 1219, 1355. The body can have narrow shoulders, then widens at the arms and tapers towards the legs; 1219, 96 lack shoulders and have a straight lateral outline; the profile can be flat (e.g. 1533) or more rounded (e.g.1219). The thin modelled arms are mostly folded at or above the waist, or upwards (P472, 1506); note arms with angular cross section, inscribed inside the body outline (1219); 2346 appears to have arms (or just hands) pointing outwards; 96 and 1055 have no arms. Hands shown by five or four incised fingers (three on 1506, 1355, 2346). The legs vary from practically inexistent (874, broken off on 2346?) to longer (P472), tapering (1506), straight or projecting outwards (1055, 1355); note the wide, straight crotch of 1219. The legs are flattened at the base or show small feet, going upwards at the back on 538, 1219; incised toes on 1219, 1355. Umbilicus, Genitals: not indicated 1, incision marking the groin on 1355. Small nipples, placed very high at the sides on 2007, P472, traces of large breasts 2346. Back: no features. No clothing but note the deep horizontal incision across the chest of 1355. Earplugs: circular; concave, placed at an angle to the head: plain (1055), flat, ornamented with perforations (1506). Manufacture: Hand-made, hollow figurines, except 538, which is solid with perforations going from side to side. Air-holes are generally placed behind the upper arms or at the neck, on one specimen (1055) at the waist. Two figurines (1506, 1355) have an additional air-hole between the legs. The oxidized ware varies in quality; the surface is smoothed, even burnished, but generally unslipped. The colour goes from buff, through shades of terracotta, to brown. The decor is normally incised, exceptionally painted in red and/or black. Sawyer 1975: 177 sees the figurine (P472) as "female", probably because of the nipples, but no genitals are shown.

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91

DISCUSSION

Special Features/Links with other groups This group can be divided into two sub-groupings: the more naturalistic 2007 to SAC 279 and the more stylized 1219 to 2346. Both are rooted in Wari-Pachacamac and related figurines (Early MH Gr.2) as well as earlier local traditions (Lima, even Epiformative): Earlier features include: the head with projecting temples (96, 1355), the high rooted nose (96, 1055, 1355), the absence of mouth (96, 1355) or arms (96, 1055), as well as very short separate legs, all occur earlier (Epiformative, Lima Grs. 1, 3), but also survive sporadically into the early MH. The figurines are also still hand-made, with air-holes in similar positions as the earlier groups. But both and the head becomes much bigger in overall proportion. This is probably an influence of the Supe figurines (Late MH Gr.4) which start to appear at this time. Later features: • The shape of the head and its size in relation to the body shows a cleat influence from the Supe figurines (see Late MH Gr.1), which start appearing at the time. • The nearly elliptic head, wider than the body (SAC 279, 1219, 96, 1055) also occurs on P477 and 228/Pl.29 (Supe-Huaura Hybrids, chapter 7) and 87, 504/Pl.44 (Unaffiliated Gr.1, chapter 8). • The face-paint (tear-lines: 538; zoning of the cheeks: P472; diagonal painted lines: SAC 279; outlining of the chin: 538) anticipates face-paint type very common on Supe, Huaura and early Chancay figurines. • The elongated eye-brows (2007, 874, P471, SAC 279) have a parallel in early Chancay (sgs. 1.2, 1.3.4, chapter 9). • Triangular incised eyes (96, 1506, 2346) occur on two late MH facenecks from Pachacamac 1 (Fig. 13 = FMC 7387) and FMC 7339, not illustrated). • The eyes of 1055 are incised in the typical broad, shallow incisions of the Teatino style. • The "rectangular" nose is very common for Huaura and other late Fig.13 MH/early LIP figurines. Together with earplugs placed at an angle, as on 1506, 1055, these features appear on 611/Pl.35 (Huaura 2.1). • 1219: angular cross section of the arms (see Supe 135, 1230, 1175/Pl.21); arms inscribed inside the body outline (see 551/Pl.33, SAC 368/Pl.35, etc., Huaura sg. 2.1). • The representation of three fingers (1506, 1355), probably symbolising a bird feature, occurs sporadically throughout the late MH as well as early Chancay (see Chancay sg.1.1, Discussion). • 1219: wide, straight crotch (see 1206, P491, P492/Pl.42, 2103-assoc./Pl.43 (Huaura 4). • 1355 has a horizontal groove across the chest, like an early Ychsma figurine from Cajamarquilla (704/Pl.103, see Chapter 10). Context 2007 and 874 both come from burials (see Appendix 3: Gravelots). The former is part of a large gravelot, containing a number of ceramics, as well as shells, spindle-whorls and a necklace: the sex of the buried is not know; 874 was associated with the remains of an infant and one vessel. 1506 also comes from as burial: it was found "between the mummy 377" (Uhle's catalogue entry), probably meaning inside a mummy bundle, but no other data are available.

1

In Uhle’s material from Pachacamac deposited at the Field Museum, Chicago. 92

Geographic distribution Provenances Certain Fairly reliable Unverifiable

Ancón 2

Pachacamac 1 1

1506 is said to come from the "oldest part of Gravefield I" at Pachacamac, "from a mummy buried deep". The other Pachacamac reference is fairly reliable. 2346, from the MNAA, bears the (old) number 1/1817"U": according to Dr. Rosa Fung (personal communication), the material with this numbering (i.e. 1/.... "U") comes from J.C. Tello's University expedition to Ancash in 1919. Two further figurines have a similar number: 639/ NC-Gallinazo sg.2/associated 1 and 671/Pl. 26 (Late MH Gr.1-Supe). Chronology 2007, from Uhle's Ancón grave P5, is dated by Strong (1925: 179-180) to Middle Ancón I, and more specifically to MH3 by Menzel, on the basis of the gravelot (Menzel 1977: fig.99; Strong 1925:Pl.46, l). The resemblance of 2007 with Supe figurines and features like the elongated eyebrows and the outlining of the chin may indicate that we are dealing with the latter part of that period. The provenance of 1506, said to come from the "oldest part of Gravefield I, from a mummy buried deep” could point to MH2B. To sum up: although some of the figurines in this group may date to MH2B, links with Teatino, Supe and Huaura point to MH3, even to its later part.

"TRANSITIONAL" EARLY- LATE MH GROUP 2: THE TEATINO FIGURINES The Teatino Pottery Style The name Teatino, given to the pottery style by J.C. Tello, comes from the site Quebrada Teatino (within Las Pampas Doña Maria), at the foot of the Lomas de Lachay, about 15 km north of the Chancay Valley. Teatino pottery is found as far North as the Huaura Valley and south to the Chillón Valley and sporadically in the Rimac Valley. Isolated finds have occurred in the Jequetepeque, Huarmey and Supe Valleys, the Callejón de Huaylas and at Pachacamac. But its nucleus is between the southern bank of the Huaura and the northern bank of the Chillón: the majority of Teatino sites have so far been found in the Chancay valley (Villacorta and Tosso 2000: 82). Although not mentioned in the literature, I have recorded at least one typical Teatino bottle from Uhle's Gravefield I at Pachacamac (Fig. 14: UPMP 26941/Uhle 1606); another Teatino vessel from the same location may have been part of a "foreign" burial (see 1560/Pl.29:Supe/Pachacamac hybrid, Chapter 7). Fig.14 Early studies often describe Teatino pottery, without actually defining a separate stylistic entity. At Ancón, Teatino pottery is listed under the monochrome pottery in Strong's Middle Ancon I (1925:148-152); Willey calls it "Middle Ancon I Incised" (1943a:190-191). The most detailed study of shapes and designs, but without a chronological seriation, is that of Bonavia (1962). Kroeber (1944:45) gives the best description of the ware: "fine-grained, smooth-textured, apparently unslipped, moist-incised with a fairly blunt point. The most typical pattern seems to be a zigzag line with dots in the angles...The colour varies from reddish through brown to almost black." Menzel sees a continuum of the Teatino pottery tradition significant mainly from MH1B to MH3, but lasting sporadically into the early part of the LIP (1964:35, 54 and note 325; 1977: 44-45;). In the Chancay valley Teatino pottery also spans phases MH2B to MH4 (Cornejo 1991: 105).

1

See Vol. I: Pl. 6 93

A more recent study (Villacorta and Tosso 2000) has, for the first time, combined descriptions and analyses from the main sites with a corpus of 11 gravelots excavated in Chancay (Cayán and Lauri) by H. Horkheimer, and eight from Ancón 1 1 (Miramar) excavated by the MNAA, in order to describe the Teatino style and to define it chronologically. All the evidence points to phases 2B and 3 of the MH, possibly extending into MH4. Two different figurine types, possibly more, are found associated with Teatino pottery: the typical Teatino style figurines, the Supe figurines (see chapter 7) and other ill-defined figurines (see below, this chapter). Nine figurines are included in the Teatino group: although the shapes vary, they all (except the associated specimens P476 and 599) display the distinctive broad, blunt incision technique, associated with the typical pottery. In addition I discuss three figurines from Ancón 1 graves (MNAA excavations), resembling the above and/or associated with Teatino style pottery (see figs. 15 -17), but they are not included in the sample. THE FIGURINES OF THE TEATINO POTTERY STYLE

Table 9 Plate 19 Sample: 6 figurines + 1 atypical, 2 associated (examined 7) Measurements Maximum Minimum Height (6) 17.0 cm 8.0 cm Width (6) 8.3 cm 4.0 cm Thickness (6) 5.9 cm 2.2 cm Weight (5) 315 gr. 185 gr. GROUP CHARACTERISTICS

Median 14.8 cm 7.5 cm 5.0 cm 215 gr.

Fairly disparate group of standing figurines: arguably 1033 could also be seen as atypical. The head is relatively small, with a rounded or bilobed crown, flat in profile (fronto-occipital cranial deformation). The face is fairly broad, with minimal modelling, no face-paint, and a rounded chin, not jutting in profile (absent on 589). Eyebrows modelled on 830, incised on 592, not shown on others; eyes are large, lenticular, lids are shallow grooves, eye-balls prominent. Thin, long, pointed nose, nostrils (830, 589), alae (589), broken on 1033. Mouth incised, either as two laterally applied notches (830, 589, 1033), or as a single narrow line (592, 1713). Ears are small, concave tabs with a rounded or more pointed outline. 1033 has incised hair. Neck: Modelled, also in the back. The fairly narrow body, wider at the low, rounded shoulders or at the arms, tapers towards the legs (straight on 1713); slightly convex in profile. Arms: modelled, very thin (broad in profile, outlined by grooves: 1033), mostly folded upwards (at waist: SAC 312); hands are indicated by three to five incised fingers (modelled on 830); legs completely separated, short, conical, no feet: the base is either flattened or slightly rising at the back (589, 592); on 1033 the conjoined legs form a broad base, with projecting feet and incised toes. Breasts, genitals, umbilicus: not shown. Back: no features (exception 1033: incised hair, hanging triangle, line at waist). Clothing, Accessories : none. 1033 has an incision below the waist and an inverted triangle in the back. Manufacture The figurines are hand-made and hollow, generally with two air-holes behind the upper arms, but rather low down. Features such as eyes, mouth, fingers are incised in broad shallow grooves. The figurines are made of a medium to fine ware. Mica occurs in the temper of a number of specimens. The surface is burnished, the colours range from dark orange and red to brown or greyish black.

1

See Appendix 2: Sites. 94

Atypical 552 clearly belongs to the Teatino style because of the typical shallow grooves used for the decor. The head and face are very wide, the large lenticular eyes rendered by grooves, the thin prominent nose has punctated nostrils, the mouth formed by two laterally applied notches, no ears. The short body widens at the shoulders, the arms and hands rendered by grooves point downwards, short, conical legs, no breasts, genitals or umbilicus. The hand-made figurine is solid, with perforations through the chest (front to back) and a burnished surface. Associated P476 from grave 4 at Lauri V, was found in association with Teatino pottery (see below, Context), but is totally unlike other Teatino figurines: it has a large semicircular head, bulging eyes, a smallish nose, thick lips and small ears (left ear missing); the body is bulky, with arms folded at the waist, vestigial protuberances for the feet and no other features. It is hand-made and appears solid, with two holes through the chest (front to back?) at shoulder level; the surface is rough, the colour light. 599: is obviously related to this group by its overall shape and ware, but it lacks the typical Teatino style decor of broad incised lines. Although it shares the modelled eyebrows and the eyes with incised lids and eye-balls of "Transitional Gr.1, the overall shape, especially the head, are different. The position of the airholes—through the armpits, front and back, but opening into the hollow body—is also unique. DISCUSSION

Links with other groups This group is obviously rooted in earlier local traditions, reaching back into the EIP and early MH (see Lima, and early MH Gr. 2), sharing the general shape, short legs (the extremities rising in the back or flattened), folded arms (some upwards), but with some variations in the head shape (the bilobation in the local tradition, the rounded crown possibly showing a Wari-Pachacamac influence). To this tradition is now added the characteristic Teatino decorative technique. The typical Teatino incised decor also occurs on isolated specimens in other groups: • 451 and 436/Pl.16-Early MH sg.2.1 have Teatino eyes, but with pupils painted white; 436/Pl.16 wears a belt and a vertical band at the back, decorated in Teatino broken lines-and-dots decor. These are examples of early Teatino influence at Pachacamac. • 1055/Pl.18 ("Transitional" MH Gr. 1) has Teatino eyes. In addition there is a hybrid group with a Teatino component (see Pl. 29:Supe/Teatino hybrids, chapter 7). • 1033 has surprising parallels with the Middle Formative 669/Pl.5 (Ancón sg. 1.4, chapter 2): the outlined folded arms, the joined legs forming a broad base and the horizontal groove below the waist. However 669 shows a very elaborate, undoubtedly early decor and its head is unfortunately missing. Since 1033 has the "composite" eye of many Middle Horizon figurines (cf. the associated 599 and "Transitional" Gr. 1 above) and a typical Teatino mouth made of two opposing notches, it clearly belongs to that style; the outlining of the arms also occurs on a Teatino face-neck (Dockstader 1967: fig.125). According to Kroeber (1944:45) J. Tello detected a Chavin influence in Teatino pottery. There is no doubt that the blunt incisions on Early Ancón pottery are somewhat similar to Teatino, but the figurines are quite different, especially the eyes. • The atypical 552 with its solid, flat body and two perforations through the chest, its elliptic head and its enormous nose is related to Late MH Group 3.1 (Anthropomorphic "Cats"/Pl.30 (Chapter 7) and Huaura Gr. 4/Pl.42 (Chapter 8).

95

• The associated P476, very coarsely made, is obviously related to the long-lasting Central Coast tradition of the Epiformative figurines from Huachipa and also the later Lima figurines. Context 830 and the associated P476 come from graves excavated by Horkheimer at Lauri, Chancay Valley sector V, graves 9 and 11 (see Appendix 3: Gravelots, and Chronology below). It is likely that the other Teatino figurines were also found in graves. Geographic distribution All the specimens have very or fairly reliable provenances from the Chancay Valley and one from the Huaura Valley. The graves excavated at Lauri V, come more specifically from the Socavón cemetery, to the north-east of Lauri, on the slopes of Cerro Las Minas (Cornejo 1991:103). In addition figurines showing some Teatino influence or associated with Teatino pottery have been found in Ancón (see figs. 15-17, below). Chronology • 830, a typical Teatino style figurine from Horkheimer's Lauri V grave 11 is associated with several vessels, at least three of them with typical Teatino decor of broad shallow broken lines and dots (Villacorta and Tosso 2000: Cuadro 4), corresponding to Bonavia's types A and L (1962:82). A similar Teatino bottle from Uhle's Ancón grave P24 is dated to MH3 (Kaulicke 1983:Abb.54.B2). • The resemblance of the atypical 552 with Late MH Group 2 and Huaura 4 might date it to MH4. • The associated P476, definitely not a Teatino style figurine, from Horkheimer's Lauri V grave 9 is associated with a two-handled bottle of Teatino shape, though lacking the typical decor, and a vessel representing a parrot, dated to MH3 (Kaulicke 1983:Abb.54.D). This sample contains no typical Teatino figurines associated with earlier or later ceramic styles, but figurines included in other groups have also Teatino associations: • P475, (Villacorta and Tosso 2000: Foto 24), listed under Late MH Gr. 1-Supe, from Horkheimer's Lauri V grave 4, was associated with a Teatino bottle, as well as an Early Chancay Tricolor geometric vessel, and is dated to MH4 (Villacorta and Tosso 2000: 100, 107). Unfortunately the Lauri gravelot (La V, grave 3) containing a classic Supe figurine (831/Pl. 22) is not dated by Villacorta and Tosso, but probably also dates to MH3-4. • Amongst the Supe/Huaura hybrids (Chapter 7) 2001/Pl.29, from Uhle's Ancón grave M12, is associated with a typical Teatino bottle (HMB 4- 5611), dating to MH3 (see Pl. G2). Amongst the figurines, sketched in the Inventario of the Ancón 1 1 excavations, P.8554 (Fig.15) from grave T.661 (Inventario, Vol. XII?) is said to come from a "Teatino" grave and resembles 552. P.1199 (Fig. 16) from Ancón grave T. 83 (Inventario vol.V?:7) does not look like a typical Teatino figurine—though it is not unlike the "associated" 599—but the Inventario sketches do not aim at accuracy; it is associated with a P. 8554 P. 1199 P. 1198 Teatino jar (P.1198). Finally P.9209 (Fig. 17) Fig. 15: A1-T. 661 from grave T.688 (Inventario, Vol. XII?), also Fig.16 : A1 – T. 83 associated with Teatino pottery (P.9208, P.9210), is more reminiscent of early Chancay types dating from MH4 to LIP 1-3.

1

See Appendix 2: Sites. 96

Taking the various data above into consideration the Teatino Group ("Transitional" Group 2) can be dated mainly to MH3, though starting in MH2B and apparently surviving until MH4. Interestingly, whilst local styles of the early MH like Nieveria, Pachacamac or SupePativilca were strongly influenced by Wari and gradually disappear, the Teatino style never lost its identity, which may explain its long survival P. 9209 P.9210 P.9208 (Villacorta and Tosso 2000: 110-111). Fig. 17: A1- T. 688 Interestingly, for Cornejo (1991), it constitutes the first phase of the Chancay pottery style. The contrast between the typical Teatino figurines and the variety of figurines associated with Teatino pottery or influenced by the style (see above) perhaps confirms Menzel's idea (1977:45) of the displacement of members of a Teatino community from its home in the Chancay/Huaura area to other locations on the Central Coast. Villacorta and Tosso (2000: 108) also record this mobility, but mainly for access to different ecological zones in a vertical sense, and to suitable burial grounds.

"TRANSITIONAL" EARLY-LATE MIDDLE HORIZON SYNOPSIS

FIGURINES GROUPS 1 AND 2:

The first two groups of the later Middle Horizon are still rooted in earlier local traditions, though in Group 1 (Miscellaneous Hybrids) many new currents, which will come to the fore at the next stage, can already be felt. This is especially visible in aspects of the face paint (tearlines, zoning of the cheeks, diagonal painted lines, outlining of the chin), borrowed from the Supe figurines which make their appearance at this time, but surviving in the Huaura and Early Chancay figurines into the LIP. The small Group 2 (Teatino) introduces a new decorative technique, but although it may have been fairly long lasting, its influence on other groups is minimal.

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CHAPTER 7 THE LATE MIDDLE HORIZON ON THE CENTRAL COAST: "INNOVATIVE" FIGURINES GROUPS 1 TO 3 INTRODUCTION In Chapter 6 we examined Middle Horizon figurines still showing some links with earlier traditions and therefore constituting a transitional phase. We have also mentioned that —with the arrival of innovative figurine groups—we witness separate, independent developments in the Northern and Southern sections of the Central Coast, with the Chillón marking a clear cultural frontier. This reflects a political reality: with the collapse of Wari power and the influence of Pachacamac in the whole area of the Central Coast, two distinct and independent polities gradually developed: the northern sector became part of the Señorios of Chancay and Collique, whilst the lower Rimac and Lurín valleys were part of the Ychsma polity or polities. In the northern sector (from the Pativilca to the Chillón drainage) the late Middle Horizon sees the development of two main new figurine groups, what I call the Supe figurines 1, , (Late MH "Innovative" Group 1) showing clear influences from the North Coast, and the early phases of what I call the Huaura figurines. There is a noticeable interplay between these two figurine groups, but since the Huaura figurines also span the early phases of the Late Intermediate Period they will be studied in the next chapter (see Chapter 8). In addition to these large groups, we see some smaller groups. One of these consists of hybrids with strong Supe elements (Late MH "Innovative" Group 2), another is a unique group of anthropo-zoomorphic figurines, resembling cats, birds or fish (Late MH "Innovative" Group 3). The earliest Chancay figurines also make their appearance at this stage, but are also studied separately (see Chapter 9). In the southern sector of the study area, the Rimac and Lurín valleys, the late Middle Horizon is only represented by one clearly defined figurine group, (early) Ychsma Group 1, common at Pachacamac, but also found in Rimac sites (Maranga, Huallamarca, Vista Alegre). Probably contemporary with early Huaura, this group fits better into the next stage, spanning the late MH and early LIP and will be studied together with the later Ychsma figurines (see Chapter 10). Interestingly, if we compare the ceramic styles—other than figurines—during the same period, there is not such a marked separate development between the northern and southern sector of the Central Coast. Both at Pachacamac and in the Ancón and Chancay areas (less so at Supe) we have ample evidence of both Uhle's Epigonal style (black and white designs on a red grounding) and its later derivatives (referred to as Epigonal-related or -derived), as well as his 3-colour geometric style (black and red designs on a white grounding), though Pachacamac seems to lack the 4-colour Epigonal (black, white and dark red or purple on red). Many of these polychrome wares are now included in a new definition of the Huaura style (Cruzado 2008). Alongside these, a fairly sophisticated press-molded red ware, common in the northern sector, is now referred to as the Supe-Pativilca style (Villacorta and Tosso 2000: These must not be confused with the pre-ceramic figurines found at Caral and other nearby sites in the Supe valley. I chose this name when working on my PhD dissertation in the early 1990, before the preceramic sites were excavated, and have often referred to it in my published work (Vols. I and III), so that I decided to keep it. 1

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100, 107). It is still ill-defined, both stylistically and chronologically (Vallejo 2010: 234), but probably has a marked influence on Late MH Group 1: The Supe figurines. While studying the large sample of late MH/early LIP Central Coast figurines one frequently observes features which appear to be specific to the Ancón area. Whilst Segura (1997:245) finds that "The Ancón burials, following the Pachacamac (or Wari influence), and preceding the Chancay remains and its tri-colour geometric and black-on-white variants, would provide us with useful information, where it not for the multi-style characteristics of the late MH-early EIP funerary contexts, or rather their permeability to extraneous influences" (my translation), I was struck by what could be seen as an Ancón sub-style. Its main characteristics reside in the ware: this is a fairly coarse red ware, with an unpolished surface. The decor can be press-molded or painted. The paint consists either of a thin, whitish slip (the red colour of the paste always showing through the white), sometimes with red decor, or of simple white designs or of a black-white-red decor, also applied with thin, watery pigments. The pottery styles related to this ware—probably Segura's "extraneous influences"—are not well described in the literature. Menzel (1977:47) briefly refers to a press-molded pottery of "north-coast tradition" in MH4 burials at Supe or Ancón, some with "the new chalky white slip of Chancay". As we have seen above, the press-molded pottery is the Estilo Pativilca, often referred to in the literature, though not the object of a thorough study (Vallejo 2010: 234). Willey (1943b:203) lists a late White-on-Red style and a pressed or relief-decorated red ware as typical—together with 4-colour epigonal—for Middle Ancón II (MH4). Iconographically the figurines of this sub-style are influenced both by Supe and by Huaura and Pativilca, though here we see a much coarser variant of that style. The figurines show that whilst press-molding disappears at Ancón after MH4, the White-on-red decor survives into the early phases of the LIP. The overall impression of great diversity 1 and cross-influences—rather than of a single style, “...tentatively called the Chillón style...”, as suggested by MacNeish, Patterson, Browman (1975:62)—is reflected in the numerous figurines of this period and makes it often difficult to define specific groups. The relative chronology of these styles is discussed at length in the introduction to Chancay figurines (Chapter 9). LATE MIDDLE HORIZON GROUP 1: THE SUPE FIGURINES In 1905 Uhle explored the site of Chimu Capac on the Hacienda San Nicolás, south of the present site of Supe. A good topographical description of this complex site is given by Menzel (1977: 29): below large fortress-like structures of stone walls on two hills, was a set of terraces and enclosures, which Uhle interpreted as a "Tiahuanaco" settlement (Kroeber 1925b: 257) and where he excavated six burials, possibly more 2. In fact, excavations carried out in 1988/1989 identified these platforms as a Late Initial and EH temple structure, and it now appears that the burials Uhle excavated at the site were elite burials of the MH, re-using the earlier sacred spaces (Valkenier 1995). Uhle also acquired a large amount of pottery—almost certainly coming from the same site—from local huaqueros. The local variant of pottery uncovered by Uhle combines highland and coastal Middle Horizon traits with a strong Moche component (Kroeber 1925b; Menzel 1964:55; 1968b:83; 1977:29-36). The assemblage does not constitute a separate style, except perhaps for the facenecks and figurines which represent a well defined personage; this is why the name "Supe figurines” seems appropriate for the figurine group 3. The figurines excavated by Uhle at Chimu Capac/San Nicolás clearly show the Moche component. Not only are they mold-made, but very similar figurines are found at the site of For a brief comparison of pottery styles found at Pachacamac, Ancón and Chancay see Willey (1943b). See Footnote on Table 10(1). 3 I have recently seen this type of figurine called "Huaura" in the on-line catalogue of the Ancón Museum. But since I have identified a later Huaura figurine type, specifically made in Huaura pottery and centred on the Huaura area, I prefer to keep the name "Supe", to which I also refer in my earlier publications. 1 2

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Moche itself, and closely related ones in the Virú and Santa valleys, so it is quite possible that they were also manufactured in the Casma or Huarmey valleys, although none in this large sample come from there. Their main distribution area lies further south, in the Huaura and Chancay valleys and at Ancón. Although the Supe group spans phases MH2B to the end of MH4, it is not a transitional group. In fact it heralds a new era, both iconographically—with the introduction of clothing and large headdresses—and technically—bringing in the mold technique from the North Coast 1. This large group presents difficult problems of classification. A first hurdle, with these figurines strongly influenced by the Moche culture, was to find criteria to separate the North Coast specimens found in the various collections (see Vol. I: NC-MH Gr. 2) from those of the Central Coast. Fortunately, several of the NC figurines have a documented provenance and they display two main characteristics not or exceptionally found on the Supe figurines: a headdress terminating in two points on either side of the face and air-holes through the neck, rather than the upper arms. As far as the Central Coast Supe figurines go, although no specific sets of features allow to establish strictly discrete sub-groups, one can distinguish two basic types (see Fig. 18): Type A: More elongated body, with a proportionally smaller head: the average overall ratio head/body is between 35 to 45%; the width of the head is rarely greater than that of the body; Type B: Squatter body, with larger head: the average overall ratio head/body is 50 to 55%; the head is often significantly wider than the body. Note that the width of the head is a less significant criterion. Occasionally a squat Type B figurine has a head which—although very large in proportion—has the same width as the body (f.i. 1799/Pl. 27). Or take 1736/Plate 28: it has a relatively small head (30.5% of total height), which is much wider than the body, Type A Type B because of huge earplugs: but it obviously Figure 18: Supe Figurine Types belongs to Type A. Borderline cases can have heads representing about 46-49% of the total height; in such cases the width (in relation to the body), helps determine the type. 2012 and 2011/Pl. 24 are such borderline cases, with heads representing 47.1% and 46.4% of the total height, but both have heads wider than the body, so they have also been assigned to Type B. The backs (see below Fig. 20), which are very characteristic, do not show a strict correlation with the two types, but this may be due to the fact that we don't have enough documented provenances, to statistically establish such a correlation. In order to see whether these two types had any cultural significance, I started by sorting the material according to provenance from three areas: Supe, Huaura/Chancay and Ancón. Unfortunately only about 44 specimens (40%) have reliable (or fairly reliable) provenances from these areas. However, by using all the provenances, including unverifiable ones, this method did illustrate a significant shift from Type A in the Supe valley (11 out of 17 or 65%) to Type B at Ancón (1 Type A out of 22 or 4.5% 2),—with 10 out of 20 or 50% in the Huaura and Chancay valleys.

An earlier mold-made group (Early Middle Horizon Group 1)—although probably "found" on the Central Coast—was probably imported from the Central and South Central Highlands. 2 The type of two Ancón specimens (P.11187, P. 11314), only known from drawings and lacking the relevant measurements could not be determined; on a further one (P.11200), the proportions of the drawing were adjusted, using the given measurements (see Plate 24, bottom row). 1

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Within these two main types, there certainly exist various stylistic differences, which will be pointed out in the Discussion below. Table 10 Plates 20 - 28 Sample: 104 Figurines (examined 88) Measurements: Maximum Minimum Median Height (89) 21.5 cm 4.3 cm 14.1 cm Width (87) 15.3 cm 2.8 cm 9.7 cm Thickness (86) 9.3 cm 1.9 cm 5.8 cm Weight (75) 580 gr. 20 gr. 320 gr. Although the figurines range in height from 4.3 cm to 21. 5 cm, nearly 80% measure between 11.0 cm and 17.0 cm (median height: 14.1 cm); the relative width and thickness is also consistent. Nor is there a significant difference between the heights and widths in the three main areas: so the differences between types A and B are more a question of proportions. Height: Max. Min. Median Width: Max. Min. Median Supe 20.3 7.4 13.5 10.7 6.1 9.4 Huaura/Chancay 21.5 8.0 15.7 15.3 5.3 9.5 Ancón 19.0 5.7 14.1 14.5 4.5 11.1 GROUP CHARACTERISTICS

Standing figurines with a large head above a relatively short body, with arms folded at the waist. The head, measuring one third to half of the total height, is often wider than the body and has a semi-circular crown (exceptions: specimens with a 4-picos headdress, e.g. 2203/Pl.22, 2196/Pl.23, 796-775/Pl.28; 1913/Pl. 28 has a flattened headdress). In profile the head is generally flattened, indicating a fronto-occipital deformation, but the degree of flattening varies greatly. The dividing line between the front and back can be very sharp (e.g. 1983/Pl.20, 1862/Pl.23), but is mostly not marked at all. 1986/Pl.20 is double-faced. The broad face can show some modelling of the cheeks and mouth area (e.g. 1983/Pl.20, 1322/Pl.22), but is more generally flat. Facial paint is often present: covering the whole face or the cheeks (35%, e.g. 1983/Pl.20, 796/Pl.28), "zoning" (ca 20%, simple: e.g. 1176/Pl.21; in steps: e.g.831, 2034/Pl. 22, with or without a contrasting outline: e.g. 1862/Pl.23, 354/Pl. 25); 864/Pl. 24 has one side of the face painted red, the other cream. In addition we see: tear-lines (8%, e.g. 663, 2014/Pl. 23, SAC 304/Pl. 26, 774/Pl. 28); nose-to-chin lines, which can be straight or broken (painted, incised, modelled: e.g. 2037/Pl.22, 1047/Pl.24); a line along the bridge of the nose (1862, 663/Pl.23). The chin can be slightly pointed (e.g. 1984/Pl.20), but is more generally rounded, rarely jutting in profile (some exceptions, e.g. 1720, 1679/Pl. 21, 1862/Pl. 23, etc); it is generally outlined in paint (e.g. 2014/ Pl.23), and/or thickened (e.g. 1719/Pl.20, 1643/Pl.23). The eyebrows are often hidden by the straight lower edge of the head-dress, which either slightly overhangs the eyes or is thickened; 2011, 2062/Pl. 24, 2204/Pl.26 have straight, molded, elongated eyebrows. Eyes: The great majority has elliptic or almond-shaped eyes, with molded eyelids and eyeballs. Of these some have lids outlined in black or white and/or eyeballs painted white, some with black pupils; 2203/Pl.22 has vertically divided black and white eyeballs. Other forms are: lozenge shaped eyes, molded or incised (e.g. 1175/Pl. 21, 671/Pl.27); "coma eyes" inlaid in turquoise: 2204/Pl.26; circular (1679/Pl.21); incised eyeballs without lids (1719/Pl.20, 2182/Pl.23); raised globular eyeballs (663/Pl.23). The nose is generally non-descript, of normal size, over 25 % have a chipped nose. The most common shape is straight, slightly pointed (e.g. 1175/Pl.21), sometimes "rectangular" (e.g. 1720/Pl.21, 671/Pl.27); nostrils and/or alae are very rare (e.g. 1230, 1175/Pl.21). A few specimens have a line painted along the bridge of the nose, sometimes continuing across the mouth (e.g. 2037/Pl.22, 351/Pl.23). The mouth: circa 60% have an elliptic mouth with molded lips, with or without a space between them; occasionally the corners are turned up (1986/Pl.20, 664/Pl.26); lips can be

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outlined in white (e.g. 663/Pl. 23), with painted teeth (469/Pl.25) or decorated with white dots (2014/Pl.23); 1812/Pl.28 has molded teeth. 40% have a straight incised mouth, in some cases slightly raised (e.g. 1720, 1230, 1175/Pl. 21). Ears: There are two main types: 1) a stylized version of the naturalistic ear, elongated, with a thickened edge (34%, e.g. 1985/Pl.20, 1230/Pl.21, 1929/Pl.25), mostly correctly placed (sometimes very high, e.g. on 1679/Pl.21, 1717/Pl.22), slightly projecting at the sides, hardly showing at the back. In less well-made figurines (21%) this type of ear becomes a simple tab (e.g. 2011/Pl.24) or lateral projections of the head-dress (e.g. 1987/Pl.20, 1278/Pl.26); 2204/Pl.26 is the only specimen with pierced ears. 2) the ears are shown by large circular ear-plugs (36%), a few of them with a painted decor. These can be inscribed inside the headdress, placed rather low (e.g. 2014/Pl.23) or project laterally beyond it (e.g. 664/Pl.26, 1736/Pl.28). At the back, they can be shown by a semi-spherical protuberance (595/Pl.22: this figurine appears to have both ear-plugs and big lateral projections (broken). 10% have no ears, they are covered by the headdress (e.g. 1719/Pl.20, 135/Pl.21). Hair: see below under Back and Headdress. Neck: only shown in the clear separation between head and body (head-dress, chin, sometimes necklace, more rarely shoulders). Body: Although always short in relation to the large head, the proportions vary considerably (as discussed above, Types A and B). The lateral outline also varies: it can be slightly rounded at the elbows, then either straight, or tapering, or broadening towards the base. Shoulders are very narrow or not shown. Mostly naturalistic profile (exceptions: 1717/Pl.22, 663/Pl.23, corpulent). Arms: are always folded at right angles across the waist. Whilst the majority start at shoulder height and are placed along the sides of the figurine, ca 12% have arms starting below the chin and placed slightly inside the body (e.g. 1643, 663/Pl.23, 868/Pl.24, etc.). All are molded: ca 40% have a fairly naturalistic shape with a rounded cross-section (e.g. 1983/Pl.20), the remaining 60% are flattened, with a rectangular cross-section (e.g. 1985/Pl.20, 864/Pl.24); on some specimens, shoulder blades (?) are shown in the back (2196, 2014/Pl.23). Hands are generally stylized, only shown as mostly incised, rarely molded fingers. In general four fingers of equal length are shown, more rarely three fingers, often on figurines with arms starting at the chin (see above, but see also 1679/Pl.21!). Legs: With a few exceptions, all the figurines stand on a flat base, though the legs can be indicated. On ca 30% they are shown as a shallow depression varying in height (cf. 1983/Pl.20 with 1927/Pl.25); sometimes the depression has a sharp outline (e.g. 1679/Pl.21, 1862/Pl.23). Feet are shown on 70% of specimens as two massive bulges, protruding at the front (17%), front and back (26%) or all round (18%); ca 20% of these have incised toes. 596/Pl.22, 2182/Pl.23, P.11200/Pl.24, 671/Pl.27, 169, 1812/Pl.28, have feet with incised or molded toes, folded inward horizontally at the base, perhaps indicating a sitting position. A further 25% have no feet, 5% are unclear.

1A

1B

1C

2

3

Figure 19: Cross-sections of the various bases of Supe figurines

A total of 49 bases were recorded. Depending on the size and shape of the feet, the crosssection of the base varies from a figure "eight" (Base 1) to an ellipse (Base 3). There is a unquantifiable continuum between shapes 1A, 1B and 1C, which represent roughly 40%, with about 10% having the more extreme 1A form. Shapes 2 and 3, which also vary more than can be shown here, represent 37% and 16% respectively. 1591/Pl.27 has a circular base. 89/Pl.25, 1590,1812/Pl.28 have two holes under the base, as if legs or feet had been broken off.

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Genitals: Only shown on 2204/Pl.26 as an incised genital triangle with vulva and on 1643/Pl.23, as a highly stylized, molded vulva. Judging from their dress, all the figurines probably represent females, including the specimens with a 4-picos headdress: several specimens with such a headdress in CC-Early MH Gr. 1 are females (see Chapter 5). Breasts: Small nipples, placed laterally and high up, occur on ca 60 % of the specimens. Note the double concentric incisions on 2196/Pl.23, and the painted outline on 2203/Pl.22. Umbilicus: Only shown—as a semi-spherical protuberance—on 2014/Pl.23 and 525/Pl.27. Back: Extremely varied, but can be reduced to four main types. This sub-division is based on the upper portion of the body, with its most varied decorative features, though other details such as the outline of the arms, the lower edge of tunic, the legs and/or feet can also be shown: they are given as "variants". Each individual back is recorded on Table 10.

A1

A1a

A2

A3

A4

B

C

D

Figure 20: Supe Figurines Back Types

Back A: (50 specimens) shows a head-dress (or perhaps hair) hanging down in a rectangular arrangement (Back A1= 27); this can be shorter, sometimes narrower and/or painted black (Back A1a= 4). The head-dress or hairstyle can also end in a point (A2=5): these variants are mostly plain, but can occasionally be painted, incised or molded. Another variant shows molded parallel lines, probably imitating hair, sometimes within a panel of varying size (A3 = 10); this panel can also be highly stylized, with an elaborate molded design (hair, textile?) within a plain border and is no longer part of the headdress (A4 = 4). Back B: (21 specimens) is plain, with or without a groove or incision marking the neck; Back C: (7 specimens) is divided into several sections, by horizontal incisions marking the edge of a skull-cap (?), the neck, the lower edge of the tunic, whilst vertical incisions indicate the ears and the arms. Back D: (5 specimens) shows a horizontal relief band at the neck or lower back, or both. The remaining 7 specimens are specials, often hybrids of A, C and D, or have unusual features: for instance 2196, 2014/Pl.23 and 525/Pl.27 show what looks like shoulder-blades. 1986 is double-faced; 14 specimens are unrecorded. The distribution of back types according to the areas shows up regional differences: the A1 back is the most popular overall (Supe 53%, Huaura/Chancay 40%, Ancón 9% (though 32% of backs there are not recorded!); the A1a type is only recorded for the Huaura/Chancay area (20%). Back B represents 12% in the Supe area, is absent in Huaura/Chancay, and is more common in Ancón (27%), whilst back C is more common in the Supe area (23.5%), as opposed to 5% in Huaura/Chancay and 4.5% at Ancón. The other variants are statistically negligible. Clothing and accessories: Headdress: All the figurines are shown with a headdress or hair (exceptions: 2204/Pl.26, 1736/Pl.28 only show some hair in the back). Although the rendering in the back varies considerably (see above), the front view only varies in its height and ornamentation. The following variants occur : a) plain (40 specimens) with a semi-circular low to very low crown (exceptions: P475 from Lauri 1 and 1913/Pl.28 have a flat crown), mostly covering the eye-brows and framing the face, but leaving the ears (or ear-plugs!) free (exception: 135/Pl.21 with ears covered); 1453/Pl.25 has a serrated edge. In the back, note: the headdress of 672/Pl.25 painted in 1

See Villacorta and Tosso 2000: Foto 24. 103

contrasting squares; 1982 and 1435/Pl.20 have molded hair ending in what looks like "feline" heads. b) with a painted decor (41 specimens) the painted semi-circular headdress is often slightly higher than the plain one. The most common decor consists of parallel stripes, straight (e.g. 1862/Pl.23), wavy (e.g. 663/Pl.23), alternating straight and wavy (e.g. 2014/Pl.23), exceptionally diagonal (662/Pl.26, 1591/Pl.27); we also see step designs (e.g. 867, 864/Pl.24), "branches" (or antlers?) from a central "trunk" (2062/Pl.24, not visible on photo!). A few specimens have a painted edge only (e.g.1230/Pl.21). c) with four picos (6 specimens): 2203/Pl.22, 2196-broken/Pl.23, 796, 882,774,775/Pl.28. Clothing: In spite of nipples being shown on over half the specimens, most figurines are probably meant to be seen as dressed. This is explicitly shown either by a horizontal line (mostly molded), indicating the waist or the lower edge of a tunic (e.g. 1985, 1988/Pl.20 circa 40%) and/or by a painted (sometimes molded) vertical band down the front (e.g. 2062, 868/Pl.24 - 17%); the molded decorative panel on the back of some specimens (Back A4- e.g. 1868/Pl. 25) may also indicate clothing. 2014/Pl.23 has a painted decor, featuring a face and upside-down birds on its front. Ear-plugs: ca 36% have large molded or appliquéd circular ear-plugs, sometimes shown actually piercing the ear (e.g. 2196/Pl.23, 1453/Pl.25) or at the back, as semi-spherical protuberances (169, 74, 1736/Pl.28). Ear-plugs are either plain or painted with a cross and dots (e.g. 1862, 2014/Pl.23); occasionally the semi-circular or tab ears are decorated with parallel lines (see 663/Pl.23, 774, 775/Pl.28). Necklaces: Worn by about half the figurines. The most popular type consists of one or two rows of molded and/or incised rectangular or circular beads (e.g. 1985/Pl.20, 1643, 663/Pl.23); occasionally there is a plain molded neck-band, with a row of beads below (e.g. 1928/Pl.26); P473/Pl.20, 1230/Pl.21, SAC 304/Pl.26, have a row of large painted white squares with a black line filler, perhaps indicating a collar; 671/Pl.27 has a painted collar of pendant triangles. Bracelets: The majority of specimens show incisions at the wrist, which may represent a bracelet or simply mark the edge of the hands. Manufacture This group marks the first definite appearance of mold-made figurines on the Central Coast. An earlier mold-made group (Early MH Group 1), although mainly found on the Central Coast, was probably imported from the Highlands. All the specimens are mold-made and all are hollow. The air-holes are highly standardized, with 71 specimens (68 %) at the level of, through, or behind the upper arms and nine (8.7 %) at the shoulders or eight 1 (7.7%) at the neck. Five specimens have other air-holes, on 11 specimens airholes are not recorded. The wares are mainly variants of epigonal (two to four colours on a terracotta or orange base), of white-on-red and plain red ware, all of which are common in late MH Central Coast assemblages. One other rarer ware is buff or pale orange, often with red, (generally on the face), but different from 3-colour geometric. The surface finish varies greatly, some specimens are highly polished, others very rough. With the variety of wares we also see a variety of decorative techniques, mostly molded with a few incised details; a pressmolded decor becomes more common in the late stages. Fig.21 DISCUSSION

The Supe figurine type appears to represent an archetypal personage, very likely a woman. Some vessels showing the same personage or one similar to the typical Supe figurine provide different clues. On one of them, the personage, unmistakably belonging to the Supe type, is covered with ají and other produce, perhaps representing a harvest deity (fig.21: MAL 3087). 1

Three of these (1366, 355, 1303/Pl.28) could be NC-MH. 104

On another vessel (fig. 22: MAL 2573), a similar personage wearing a high head-dress with step motif and tumi, is sitting cross-legged on a litter or throne—Moche personages in the same attitude are common—and obviously represents a ruler, probably a male. At Chimu Capac itself a number of such vessels also represent high-status personages (Kroeber 1925b: Pl.72 a, b, g). Menzel (1977:49) interprets the decor painted on one of the figurines (2014/Pl.23), from Uhle’s grave T7 at Ancón as mythical, showing the Sky God and spirit birds. Apart from that particular figurine, there are no features linking the type with a symbolically more complex personage. But in spite of basically homogenous iconographic characteristics, one detects a number of stylistic variables. They are not specific enough to define Fig.22 sub-groups, but probably represent regional and—to some degree— temporal variations. I have already used the basic differences in the overall look and proportions to define types A and B: as we have seen this variable changes significantly from Supe, via the Huaura and Chancay valleys to Ancón. Other groupings show:

1983/Pl.20 (Supe)

1435/Pl.20 (Supe)

1322/Pl.22 (Huaura V.)

1929/Pl. (no prov.)

Figure 23: Supe figurines showing a strong Moche influence, mostly with Back A (Provenance mainly Supe, south to Chancay, none from Ancón) Other examples: 1984, 1985, 1982/Pl.20 from Supe, 831/Pl.22 from Chancay and 136/Pl.23 from Huaura, 672/Pl.25-no prov; and to a lesser degree 1185/Pl. 23 from Huacho, 354/Pl. 25 and 1863/Pl.26 said to come from Pachacamac and Trujillo respectively, 201/Pl.26 and 2126/Pl.27 without provenance. Three specimens without provenance (1366, 355, 1303/Pl.26)

1230/Pl.21 (Supe)

1176/Pl.21 (Supe)

1175/Pl.22 (Supe)

2196/Pl.23 (Huaura V.)

Fig. 24: Supe figurines with a more elongated body and Back C or a "special" back (Provenance mainly Supe and south to Chancay) Other examples include: P473/Pl.20 from Supe and SAC 304/without prov., both near identical with 1230; P475 (Villacorta and Tosso 2000: Foto 24), from Horkheimer's grave 4 at Lauri V, Chancay Valley, which is near identical with 1175. A white on red figurine from Ancón (2014/Pl.23) has the same elongated shape and special back as 2196. Another specimen (1812/Pl.28 – no prov.) has the same elongated shape, but a press-molded decor (see below).

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135/Pl.21 (Supe V.)

1679/Pl.21 (Supe V.)

1717/Pl.22 (Huaura V.)

2034/Pl.22(Chancay)

Fig. 25: Supe figurines sharing a "different look", grouped through linkage (i.e. traits shared by two or more specimens): Back A1a, jutting chin, high ears, Back A3. (Provenance mainly Huacho and Chancay) Other examples 1718, 2037, 2035/Pl.22 from the Huaura V. or 1736/Pl.28 without prov.

223/Pl.23 (Ancón)

864/Pl.24 (Ancón)

1453/Pl.25 (Ancón) 1862/Pl.23 (Chancay)

1987/Pl.20 (Supe)

Fig. 26: Squatter Supe figurines, with a larger head, often with large disk ear-plugs and a variety of backs; these are typical—though not exclusive—for Ancón.

595 (Huaura)

1643 (Chancay)

868 (Ancón)

169/Pl. 27 (no prov.)

161/Pl.27 (no prov.)

Fig. 27: Supe figurines with a press-molded decor, also at the back These appear to be more common in the Huaura/Chancay and Ancón areas, though it is not possible to prove it. Another press-molded figurine (1812/Pl.28–no prov.) has a more elongated shape, like the grouping in Fig. 24 above. Special features 198/Pl.20, from San Nicolás/Chimu Capac, is a double-faced "Janus" figure, with a similar—though not identical—mold used for both faces. This type of representation, which occurs sporadically on the Central Coast during the Middle Horizon may have a mythical connotation (see 337/Lima Gr. 3/Nieveria, Chapter 4, SAC 289/Supe-Huaura hybrids, both in this chapter; 140/Huaura 2.1, 2201/Unaffiliated Gr.1, Chapter 8. Six figurines (596/Pl.22, 2182/Pl.23, P.11200/Pl.24, 671/Pl.27, 169, 1812/Pl.28) have stylized legs/feet, bent inwards near the base of the figurine, with incised or molded toes: this feature, sometimes placed quite high, is not a second set of arms. Menzel (1977: 49 and fig. 118) links the painted decor on 2014 with a northern religious tradition of a male Sky God and spirit birds, much in evidence at Chimu Capac/Supe. She also points out the "arching head ornament", the painted tear-lines and the large ear-plugs as denoting a mythical or elite character. These features, of course, apply to many of the Supe figurines.

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Links with other groups This group, which has no stylistic antecedents on the Central Coast, has its roots in the Moche culture, both iconographically and technically. Surprisingly many iconographic features are shared with classic, rather than late Moche: • The large panel at the back, representing either a scarf or hair (Back A1, Back A3) occurs in classic Moche (phase IV), especially on female shamans (see Fig. 28: MBL 1534, Fig. 29: MBL 1533) 1, both Moche sg.4.3). The knee-length tunic is also of classic Moche origin. Both features are female characteristics. • The facial traits of some of the early figurines in this group, especially the modelling of the cheeks and the appearance of the profile, are very similar to classic Moche (e.g. 1983/Pl.20 or the Fig. 28 profile of 1929/Pl.25). • The closest resemblance, however, is with the Moche-derived early MH group (NC-MH Gr. 2) 2, found mainly in the Moche and Chicama valleys, but also occurring in the Virú and Santa valleys, which show only minimal differences in the shape of the headdress, the position of the air-holes, sometimes the back. A similar headdress and related backs also survive in the Chimu style. • We see a radical change in technology, with the introduction of the mold, though Moche figurines have airholes at the anus, vulva or the base and NC MH Group 2 have them at the neck or shoulders and the Fig. 29 base, whilst the position of the air-holes here (at the upper arms, more rarely at the neck or shoulders) has local CC antecedents. Gradually the Moche influence vanishes, though isolated North Coast features may still occur, especially at Chimu Capac: the hair ending in serpent heads (1982 and 1435/Pl.20) occurs on a MH face-neck from the Santa Valley (Wilson 1988:481, fig.249). Curiously, Wari influences from both the Highlands and Pachacamac, which Menzel (1977) identifies in the Chimu Capac assemblage, have little impact on the figurines, except possibly: • the characteristic black pupils at the center of white eyeballs (201 and 2126/Pl.26, both of unknown provenance). These are distinct from the more common Supe eye, with some white paint on the pupils, leaving the center unpainted. Note also the vertically divided eyes—typical for Wari—on 2203/Pl.22, from the Chancay Valley. • the overall painting of the face in a darker colour is common on Wari-style figurines (Viñaque, Atarco, Wari-Pachacamac); it also occurs in Moche. The stepped facial decor (often used on the Supe type as the outline of facial zoning) occurs on large Pacheco face-necks, but on figurines it has only Moche antecedents (e.g. 2368/Moche sg. 1.5.2 or 983/Moche sg. 4.3 3). Tear-lines, a typical Wari feature, are relatively rare in Supe (ca 8%) and must not be mistaken for the outlining of the face-paint (see for instance 864/Pl.24), but that may have to do with the actual personage represented in the Supe group. • the 4-picos headdress (2203/Pl.22, 2196 (broken)/Pl.23, 796, 882, 774, 775, C140/Pl. 28), is well-documented for the Wari culture and many actual examples have survived. Although it is typical for CC-early MH-Gr.1 figurines, it is relatively rare on other figurines of the Wari styles (Wari-Pachacamac, Viñaque, Atarco) 4. The reason for the lack of Wari influence may be that the group dates mainly to the late See Vol.I: 905, 937/Pl.33/Moche sg.4.3. See Vol.I: 143-146 and Pl. 39 3 See Vol.I: Pls. 24, 33 4 For examples of four cornered hats and a list of figurines wearing them see CC-early MH Gr.1, Chapter 5. 1 2

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MH, when this influence had all but disappeared on the Central Coast. In the Ancón area (and partly in the Huaura and Chancay valleys) the figurines appear to develop into a regional sub-style (there may also be a chronological factor at play, see Chronology), with a squatter body (type B), and often a large headdress and disk ear-plugs. Here we see an interplay with the Huaura style (and the hypothetical Ancón sub-style?). Traits shared with the Huaura style are : • Semi-circular headdress with vertical stripes. Only the female head-dress is represented: the typical Huaura male head-dress, with two-, three- and 4-picos placed side by side, is absent. • arms inscribed inside the body outline, starting from the chin or even the ears (cf. 1643, 663/Pl.23, 868/Pl.24, 1590, 169, 161/Pl. 27 with 1182, 655/Pl.32, etc. in Huaura sgr. 2.1). • Necklace with a single row of large spherical beads (663/Pl.23, 1800/Pl.25, 525/Pl.27). • Figurines with an overall white-on-red decor (cf. 2014/Pl.23, 469/Pl.25 with many Huaura sg. 2.1 specimens). Note also the typical Huaura tab ears with parallel stripes on 663/Pl.23, 774, 775/Pl.28. • Paint applied to the front of the figurine and only to the back of the headdress (469/Pl.25, 1799, 1590/Pl.27). But other specific Huaura features, such as male-female "couples", do not occur in the Supe type. Some influence of the Pativilca style can be seen in the press-molded features on a number of Supe figurines, e.g. 159 to 74/Pl. 27 etc., as well as in their association with pressmolded vessels (see Gravelots of Ancón 1- T. 680, T. 879/Pl. G4). But there a is a scarcity of early Chancay features, though the two figurine types have been found associated (see Gravelot of Ancón 1-T.619/ Pl. G3): only a few figurines have three fingers or elongated, molded eye-brows. Important early Chancay traits like bilobation or two sets of arms do not occur. Context Supe figurines are found as funerary offerings: 15 specimens are documented grave-goods (see Appendix 3: Gravelots), and at least another 10 specimens, including Uhle's figurines from San Nicolás/Chimu Capac and two figurines excavated by Reiss and Stübel at Ancón come from graves. Often two or more figurines occur together, occasionally of different styles. At San Nicolás/Chimú Capac the consecutive numbering by Uhle of several figurines (see Chronology) may also indicate that they come from the same or adjacent graves. In several instances at Ancón (gravelots of 2011/2062, 2012, 2014) the figurines were found inside a fardo: 2012 "on the breast of the mummy" (Uhle, MS catalogue VII, p.28, no.45870). Where we have complete recorded gravelots, there is no evident correlation with sex and age, as many are multiple burials, nor with occupation, as—amongst others—spindle-whorls are always present, nor with social status, as only two Ancón graves contained high status goods: Ancón 1/grave 674 (864): a gold bracelet, two shell-and turquoise necklaces and a pair of large wooden disk ear-plugs; Uhle’s Ancón grave T7 (2014) contained very ornate ceramic ear-plugs, a stone star-mace with shell inlaid handle etc. (see Appendix 3: Gravelots). The function prior to deposition may have been linked with curing practices, as over half of the figurines appear to be rattles. However, one cannot always be certain that they were intentionally made as such. The sound in a rattle is produced by two or more purpose-made ceramic balls, placed inside the figurine before the molds, front and back, are stuck together. But sometimes when the air-holes are punched into a figurine, the two lumps of clay which fall into the hollow cavity can produce the same sound after firing. Generally the sound produced by a genuine rattle is stronger. Interestingly in the case of two figurines found inside

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one mummy bundle (2011 and 2062), one is a rattle, the other not. The same occurs with an identical pair of figurines (2034, 2035), therefore presumably from the same grave at La Mina, Chancay 1. Uhle's Ancón gravelot of 2012, a rattle, contained "some medicine bags, which were hanging outside the mummy bale" (Uhle, MS catalogue vol.VII, p.28, under unnumbered gravelot from Site T or M, nos. 5864-5870). Geographic distribution Provenances Certain Fairly reliable Unverifiable

Supe 9 3 5

Huaura V. 1 4 5

Chancay V. 2 6 4

Ancón 17 1 5

Rimac V.

Lurín V.

1

4

Other 1 Huarmey

Of the 44 certain or fairly reliable site attributions 27 % are from the Supe Valley, 29.5 % from the Huaura and Chancay valleys and 41 % from Ancón. Considering the existence of closely related figurines in the Moche, Virú and Santa Valleys, it is more than likely that similar figurines exist in the area between, such as the unusual 671/Pl.27, collected by Tello on his way to the Callejón de Huaylas, or 1736/Pl.28 said to come from the North Coast, 1863/Pl.26 from the "Vicinity of Trujillo" or the Moche look-alike 1812/Pl. 28 from "Chimbote". The latter attributions should be treated with caution (see Appendix 1, MAI), but could be correct. There are no excavated or otherwise documented Supe figurines from sites south of Ancón: • The "Lima?" attribution (1756/Pl.26) is given to a number of objects said to have been found near the Lima Country Club (AMNH 41.1.8104, a gift form the "Foundation Co."). As three of them are Nasca, the whole site attribution seems doubtful. • Although the attributions of van den Zypen/Gretzer at the EMB and Ber at the MHP (see Appendix 1) are usually fairly reliable, I have reservations about the four "Pachacamac" attributions: with the exception of one Supe hybrid (1516/Pl.29), no similar or related specimens have been excavated at that site. Chronology a) Figurines from Chimu Capac, Hacienda San Nicolás, lower Supe valley : Menzel (1977:31) dates the pottery from the site to the Middle Horizon, from MH1B to MH4, with only about 34 out of her analysed sample of 253 vessels 2 dating to phases MH1/2, the remainder to MH3/4. Contrary to his usual procedure, Uhle did not keep a record of the gravelots excavated at the site, with a few exceptions. Instead, "The Supe catalogue is a running description of each specimen, with mention of the locality in which it was obtained" (Kroeber 1925b: 236). This does not, however, exclude the possibility of finds being numbered consecutively, so that close numbers could still indicate proximity in retrieval, in deposition and therefore in time. However a comparison of close catalogue numbers can only provide an attempt at dating 3. Of the nine figurines recorded from Chimu Capac (Kroeber 1925b:244), we find that five specimens (1985, 1984, 1435, 1982, 1983/Pl. 20) have sequential numbering (Uhle’s 76707674). This may mean that they were found in the same grave, or in adjacent graves. Stylistically they differ, with two figurines showing strong Moche traits (1984= Uhle 7671, 1983=Uhle 7674), one other still closely related (1985=Uhle 7670), the other two not. But it is These were not part of Uhle's 1904 excavations at La Mina (his Chancay Site A), which bear numbers 4/6361-4/7051 and 4/9357-4/9366. Objects with the prefix 16, like here, were usually acquired (see Appendix 1, Collections: HMB). 2 Kroeber (1925b: 238) mentions 298 vessels from San Nicolás. 3 For instance 1989 (Uhle's 7656) from Salinas de Huacho is listed between sets of numbers from Chimu Capac (see Kroeber 1925b:237). 1

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not impossible to find several figurines of different styles in the same grave (see f.i. Ancón 1, grave 680 below). If we try to date these figurines by their proximity with other finds: the closest available vessels are Gravelot 6: 7658 to 7667 ( Kroeber 1925b:Pl.77 h-o) and 7679 (ibid. Pl.77 c), all dated to MH2B by Menzel (1964:32; 1977:31), who stresses the mixture of influences (North Coast, Southern Highlands, Pachacamac) in Gravelot 6. This early date also tallies with the similarity in the hairstyles of 1982/Pl.20 and 1435/Pl.20 with an early MH face-neck from Santa (Wilson 1988:481). The nearest available numbers to P473/Pl.20 (= Uhle’s 7647) are 7634 and 7637 (Kroeber 1925b:Pl. 75e and 76m), both dated to MH2. Two further sequentially numbered specimens (1988/Pl.20= Uhle 7360, 1987/Pl.20=Uhle 7361) could also date to MH2B, because of their proximity to 7359 (Kroeber 1925b:Pl.75d), which is press-molded, with the designs re-outlined manually, a MH2 characteristic (Menzel 1977:32); but other near numbers like 7356 and 7366 (Kroeber 1925b:Pl.73k, n) could be MH3. The vessel nearest to the double-faced 1986/Pl.20 (Uhle 7178) is 7177 (Kroeber 1925b:Pl.72d), a handled jar with a variant of "profile angel head". Both the broad spout and the "derived" design are not typical for MH2 and could be a local form or a later development. Because of the resemblance of 1986 to Huaura 2 figurines, I think that it cannot be earlier than MH3. Considering how few vessels from Chimu Capac were found to date to MH1/2 it is surprising that the majority of figurines should be amongst them: it is more likely that my dating "method" is at fault. But early dates for some of the material must not be dismissed: very similar figurines from Moche (see Kroeber 1925a: Pl.64g; Donnan and Mackay 1978: 273, fig. A; 287, fig. A) are even dated to MH1B! On stylistic grounds I would date the earliest set of five figurines (1983, 1984, 1985, 1982, 1435/Pl.20) to MH2, with the "Moche" look-alikes dating to MH2A, the rest to MH2B; the remaining figurines from Chimu Capac could date to MH3. b) Figurines from Chancay and Ancón: The dating is based on eleven gravelots, one from Chancay and 10 from Ancón (see Appendix 3 and Plates G2-G4), mainly with reference to Uhle's material from Ancón (Strong 1925; Menzel 1964, 1977). It can be difficult to distinguish between MH phases 3 and 4, but we know that Menzel dates Strong's Middle Ancón I to MH2/3, his Middle Ancón II to late MH3-MH4. My task has been made much easier by the work of Kaulicke (1983/1997). • 831 (=LaV-3-VI) from Horkheimer's grave 3 at Lauri V (Socavón), Chancay, contains a classic Teatino face-neck (La V-3-I) and a small tumbler (La V-3-II), both dating to MH3. This rather early date tallies with the late Moche-related aspect of the figurine. • 223 and 236 excavated by Reiss and Stübel in Ancón, are dated by Kaulicke to MH4 (1983: Abb.64.5 and 64.12), probably based on Strong's (1925:188) dating of these pieces to his Middle Ancón II. Note that Haas dates both to MH2B (1986: nos. 102, 103). • 2014 (4-5716) from Uhle's Ancón grave T7 is dated to MH4 on the basis of a faceneck with a press-molded body, representing a spondylus (Menzel 1977: 49 and fig.112). Other vessels include a press-molded high-necked bottle (4-5715) a handled bottle with vertical stripes (4-5712) and an elaborate ceramic ear-plug (45718a), all illustrated in Kaulicke (1983:Abb.57B). • P474 (=4-5707), from Uhle's Ancón grave T11 is dated to MH4 by Kaulicke (1983:Abb.55A), on the strength of two figurines (see also P477/Pl.29 - SupeHuaura Hybrids) and a non-diagnostic vessel. • 2011 and 2062 (4-5871, 4-5872) come from the same mummy bale from Uhle's Ancón site "M or T", without other association. 2011 has the typical Moche derived 110

•

• •

•

•

•

back A, whilst the painted decor of 2062, combined with a type D back look later. Sites M and T yielded mostly Middle Ancón II (MH3/MH4) pottery. These figurines are not dated by Kaulicke. P.1415, from Ancón 1, T.105, is associated with a press-molded vessel in the shape of a spondylus (P.1405), similar to the one found with 2014 (above), a cumbrous bowl with interior decor (P.1400), a jar with lateral handles and Teatino style (?) incisions around the neck (P.1407) and an unusual modelled vessel of a mother with a child on her back (P.1408). The spondylus vessel has a MH2B parallel (Menzel 1977: fig.109A), but could be later, like the bowl and the jar; the drawing of the modelled vessel does not allow a proper diagnosis. A MH3/4 date for this gravelot seems reasonable. P.8055 from Ancón 1, T. 614, is part of a large gravelot, containing three pressmolded vessels: (P.8051, P.8052, P.8053) all dating to MH4. 867 (=P.8150), from Ancón 1, T. 619, is associated with an early Chancay figurine (see 866/P.8149/Pl.49, Chancay 1.1.4). One associated vessel (P.8143) resembles a 3-colour geometric vessel from Ancón (Haas 1986: no.47); another (P.8140) is more difficult to date. Date: MH4. 864 (=P.8747) from Ancón 1, T. 674—very similar to 867 (above) — contains two tumblers with "decadent" Pachacamac griffins (P.8745 and P.8767), similar in shape to one from Uhle's grave T15 (Strong 1925: Pl.44o) 1, a bottle with press-molded bird (P.8748), all dating to MH3/4; a small double-vessel (P.8766) said to be of Chancay style. The ware itself is not described and the colour given in the Inventario is generally that of the paste, the surface colour rarely being mentioned. It is identical in shape and similar in design to a vessel from T15 (Strong 1925:Pl.45h): here we see clearly that it is not Chancay black-on-white 2. Other vessels from grave 674 are difficult to date. The grave contained six fardos: large multiple graves are more typical of MH4 or the early LIP (Menzel 1977:45). Date : MH4. 1047, 1046, 868 (=P.8958, P.8965, P.8966?): Ancón 1, T. 680 is interesting because it contains three rather different Supe figurines: 1047 (P.8958) is a "classic" Type B Supe figurine, squat, with large disk ear-plugs, though the variant of type A4 back may mean a slightly later date; 1046 (P.8965) has a white-on-terracotta stripy headdress, showing a Huaura influence, with a B back; 868 (P.8966? see Table 12) has the press-molded decor, arms starting from the chin, stripy headdress, indicating a disintegration of classic Supe under the influence of the Ancón sub-style. The three figurines are associated with two vessels: P.8985, described as “ornitomorfo”, resembles vessels representing a bird, with single spout and strap handle, which occur both in Supe (Kroeber 1925b:Pl.74 a, b, c, f) and Ancón (Haas 1986: no.52) and span the late MH and the beginning of LIP; and P.8986, the latter clearly belonging to MH4 (cf. Menzel 1977: fig.112). Date : MH4 to LIP 1-2? P.11187 and P.11200 from Ancón 1, T. 873, are part of a gravelot containing 31 specimens. Amongst them is a anthropomorphic "bird" figurine (P.11174/Pl.30), a tumbler with modelled face (P.11171), the nearest equivalent dating to MH2B (Kroeber 1925b:Pl.77l), but lower and with parallel yellow and black lines on red around the rim (MH3?); a second tumbler (P.11194) with a shape similar to a "3colour geometric" vessel from Chancay (Kroeber 1926b:Pl.83F), but with black parallel and zigzag lines on a red background; a miniature whistling jar with modelled head (P.11175), reminiscent of a vessel from Uhle's T14 (Strong

Strong (1925:190) lists this specimen (5750) as being from T14, but it is clear from the numbering in T14 (circa 5609 to circa 5689) and T 15 (5750, 5756, 5776) and from Patterson's drawings of gravelot T15 (Hardy n.d.:125) that it comes from T15. 2 Kaulicke (1983: Abb.57E), based on Strong, only illustrates two specimens from T15 (see note 1) and dates the grave wrongly to LIP 5-8. 1

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1925:Pl.45c) dating to MH4; a jar (P.11179) not unlike a 3-colour geometric vessel from Chancay (Kroeber 1926b:Pl.85D); a long-necked bottle, with low handles and press-molded bird decor (P.11199), bearing some resemblance with a press-molded bottle from Uhle's grave T7, dated to MH4 (Kaulicke 1983:Abb.57,B3). Other vessels (P. 11182, P.11188) are more difficult to date. On balance MH4 seems a reasonable date. • P.11314 from Ancón 1, T. 879, is associated with a press-molded face-neck (P.11310) and a bottle (P.11308), with red and cream stripes, outlined in black. Both are very similar to vessels from Uhle's T7 (see above), clearly dating to MH4. Because of the lack of a proper analysis for the late MH phases it is difficult to assign the gravelots more precisely. But the overall chronology is fairly clear: the Supe type figurines first appear at the end of the early MH (MH2B) in the Supe area (and/or further north?): at first they are very strongly influenced by the Moche-derived style of the NC. They gradually evolve, losing their marked resemblance with that style. During MH3 they make their appearance in the Huaura/Chancay/Ancón area, as evidenced by 831 from a Lauri gravelot and by the Supe/Teatino hybrids (see below, sg. 2.1). The "classic" Supe figurine from Ancón, with its squat body and large disk earrings 1 (e.g.1862, 864), appears in the latter part of MH3 and flourishes in MH4 (see most Ancón gravelots). During MH4 we notice a strong influence of an Ancón sub-style and/or the Huaura style, resulting in all sorts of "mutants", but contemporary with classic Supe (see gravelots Ancón 1-T.680 or Uhle's T7). Classic Supe is also contemporary with the Supe-Huaura hybrids (see sg. 2.2 below) and even early Chancay (see gravelot Ancón 1-T.619). So one cannot speak of a gradual change in the Supe figurine type: though they still occur at the very beginning of Chancay (MH4-LIP 1-2), they disappear quite suddenly immediately after that. It is interesting to note—amongst the figurines without provenance—that many belong to the press-molded (or white-on-red), coarse "Ancón sub-style", influenced by the SupeHuaura-Pativilca stylistic complex (see 1590-1812/Pl.28), whilst there are hardly any similar specimens with known provenance (e.g. 1643, 2014/Pl.23, 868/Pl.24, 2172, 469/Pl.25). Interestingly the Supe figurine type has never—to my knowledge—been found south of Ancón. This could be explained by the "break" between the area north and south of the Chillón, following the decline of Wari power and with it of the influence of Pachacamac north of the Chillón. LATE MIDDLE HORIZON GROUP 2: SUPE-RELATED HYBRIDS SUB-GROUP 2.1: SUPE-TEATINO HYBRIDS

Table 11 Plate 29 Sample: 4 figurines (examined all) Measurements: The height varies between 5.6 cm and approx.11 cm, as two figurines appear to have had small legs/feet, now broken, the average width is 5.8 cm, the average thickness 2.75 cm. GROUP CHARACTERISTICS

Small standing figurines with a large head and a semi-circular crown with a very thin edge; circular face, without modelling or face-paint; the chin does not protrude. Incised, elliptic eyeballs, no lids, no pupils (1787, 1788), appliquéd eyes on 1820 (1791?), now missing; small nose, no nostrils or alae, no mouth or ears. The neck is just indicated. The body is squat, no shoulders; straight lateral outline, flat profile; the arms are modelled in very low relief, folded at waist; squarish outline on 1791, 1820. No legs on 1788; 1787 stands on an elliptic base, the feet are indicated as slight bulges above; short legs (broken on 1791, 1820). No umbilicus, no genitals, small round breasts on 1791, 1820. Back: No features. Clothing or accessories: None. 1 Large disk ear-plugs are frequently found with Supe figurines in Ancón graves (see Gravelots of Uhle's T7, and Ancón 1-T.674 in Appendix 3)

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Manufacture: It is not clear whether the figurines are hand- or mold-made; those with legs attached (now broken) appear at least partly hand-made. Two specimens are definitely hollow, the others may be solid. All specimens have two holes at the neck, functioning as air- or suspension holes. Smoothed surface, brown, buff or terracotta. DISCUSSION

Links with other groups The argument for classifying these few figurines as Supe-Teatino hybrids, rather than as Teatino, is the difference in shape with the figurines classified as Teatino figurines: those have relatively small heads and elongated bodies (see Pl. 19), whilst the hybrids have a body clearly related to Supe figurines, most obviously in the leg-less 1787. The legs, when shown, are stump legs (1788), which appear at Ancón towards the end of the MH and are related to other hybrids (see Supe-Huaura, below).The Teatino element is the typical shallow groove outlining of the eyes, a technique also used for the decor of the Teatino figurines. Context Three figurines come from Ancón graves excavated (or collected?) by Bandelier: only one of them is described as coming from a burial, associated with two other "small" figurines. (1788, see Gravelots, Appendix 3). One of those is 1785/Pl.30, which has the same accession number (B5334 - see Late MH sg.3.2:“Birds” below), the other could be the near identical 1787- this group, though its accession number is B5360. Geographic distribution: Out of four provenances, one certain and two fairly reliable ones are from Ancón. Chronology: The stylistic link to Teatino and the association of 1788 with 1785/Pl. 30-Late MH sg. 3.2, a "Bird" (see below), dates these figurines to MH3/4. SUB-GROUP 2.2 : SUPE-HUAURA HYBRIDS

Table 11 Plate 29 Sample: 14 figurines (examined 6) Measurements Maximum Height (11) 22.2 cm Width (12) 15.1 cm Thickness (9) 7.0 cm Weight: Mostly unrecorded

Minimum 6.4 cm 4.3 cm 1.8 cm

Median 18.0 cm 11.7 cm 6.0 cm

GROUP CHARACTERISTICS

Heterogeneous assemblage of relatively large standing figurines, sharing Supe, Huaura and other late CC-MH characteristics. The head is large, the widest part of the figurine, with a variety of headgear (see below), affecting the shape; fronto-occipital deformation. The face, which is often foreshortened (e.g. P477, SAC 289), shows no modelling and is often painted a darker colour; nose-to-chin lines (P477, 228, 768, SAC 283), tearlines (1059, C141, C142). Eyebrows: On SAC 289 only; eyes: round or elliptic, circular (1059); molded lids, molded and/or painted eyeballs; non-descript nose, no nostrils or alae; mouth: straight, molded, with incised and/or painted lips; smiling (1059); C141, C142, 768, SAC 405 have painted teeth. Ears mostly indicated by ear-plugs (e,g, C41) or horizontal stripes (SAC 293) or both (e.g. SAC 293, 19). The chin is rounded; straight (e.g. 1059) or slightly jutting (e.g. 1348) in profile, thickened (P477, 228), outlined in paint on eight figurines. Neck: rarely shown. Body: Stocky, no shoulders, mostly straight-sided, sometimes widening or tapering towards the feet (e.g. 228 or SAC 289, SAC 283). 1348, SAC 284 have short lateral projections (see Discussion). Minimal modelling at waist level (SAC 283, 190). Profile (mostly unrecorded): straight, flat (228, 1348,), more naturalistic (1059). Arms: generally folded above the waist (not clear on SAC 284); inscribed inside the body outline and starting from the chin (SAC 289, 1328, SAC 293); painted a darker colour (768, SAC 405); white stripes across (SAC 289); 228 has two sets of folded arms (outlined in white); hands can have three (228,768) or four fingers (1348, SAC 289, 1059); hardly indicated on others. Legs:

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completely separated, mostly cylindrical, with slightly protruding feet, with or without incised toes; SAC 289 has short heavy legs and large feet and toes; P477, 228 have "claw feet", round, with deep incisions for the toes; 228, SAC 293 have horizontal stripes painted across the legs; no legs on C141, C142. No umbilicus. Breasts : small nipples on most specimens, except the male SAC 284 (C142, also male, has nipples). Genitals: 228, 1059, 190, SAC 283? have a protuberance in the genital area, probably indicating females; P477, with traces of a painted genital triangle, is probably also a female. SAC 284 is a male, with appliquéd penis; very elaborate genitals on couple: C142 has an erect penis with a small hole and testes, C141 has a large clitoris shown within a big vulva. Not indicated on six specimens. Back: 768 and 190 have a Supe type A1 back, 228,1059, 1348 variants of A3, with molded hair. SAC 289 is said to be double-faced. No data about the remaining figurines. Clothing, accessories Headdress: Rounded, plain (2001, P477 etc), with vertical painted stripes (e.g. 228, 1059, C141, 768, etc.), additional molded “stripes” 1059); with four picos, (C142 with criss-cross design, SAC 293, 1348); with a "antler" design (1348); rounded cap with raised top which may have had two picos, now broken, decorated with painted concentric circles (190); hat with cap and brim (SAC 284). Clothing: Shown by a vertical painted "textile" strip on eight figurines; no clothing on others. Necklace: One or two rows of beads, molded (SAC 405, SAC 283, SAC 289, 1348, 190, SAC 284), painted (768). Ear-plugs: Disks painted with "cross-and-dots" motif on eight specimens (e.g. C141, C142), only visible in the back on 1348; small, semi-spherical ear-plugs on 228, 1059. Manufacture: The figurines are probably mold-made and hollow, with a variety of air-holes at the neck (3), upper arms (3) shoulders (1), between the legs (1), one solid, five unrecorded. The wares can be epigonal-related, three-colour (white, black, red), but are more often white on red, sometimes with a darker red added. DISCUSSION

The clearest evidence of the hybridisation taking place between the Supe and the Huaura type is the couple C141/C142: the overall shape is typical of Supe, as is the "textile" panel down the front, whilst the fact that this a couple (so frequent in Huaura representations) as well as the emphasis on the genitals is typical for Huaura figurines. Special features SAC 289 is said to be double-faced, a fairly rare feature, occurring mainly on the Central Coast during the MH (see Discussion, Lima Gr.3/Nieveria, Chapter 4). 1348 and SAC 284 have small lateral protuberances: on 1348 they can be clearly identified as hip-bones, which are quite common in Chancay-Huaura (see 156, 1635, P533/Pl.70-Chancay sg. 1.5.1). On SAC 284 they seem too high and could represent a second set of (extended) arms (cf. 1701/Pl.36-Huaura sg. 2.2), but the photograph provided is unclear. 228 has two pairs of folded arms, as opposed to the common folded/extended combination (see Huaura sg. 2.2 and Chancay sg. 1.2). Another such figurine is 1044/Pl.41Huaura Gr.3. Links with other groups This is clearly a hybrid group, but considering that the Supe group itself includes a series of figurines with Huaura or Ancón sub-style? traits, it is difficult to separate the various influences 1: Supe features : • The upper body (very large head, lack of neck or shoulders) is more akin to Supe than Huaura; 1 A vessel said to belong to the Huaura style, features a typical Supe figurine in its centre (Sawyer 1975: fig.184).

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• The genitals are mostly not or very summarily indicated, whereas in Huaura they tend to be more explicit; • Disk ear-plugs with painted cross-and-dots design (cf. Supe 1862/Pl.23, 1046/Pl.24, 469Pl.25, probably others now rubbed off); • Backs showing the headdress hanging down on 768, 190 (others unrecorded?) or with molded features (1059, 228, 1348, others?) are of the Supe types A1 and A3; • Vertical "textile" band in front to indicate clothing; • Headdress: The headdress with four picos, two in front and two at the back (C142, SAC 293, 1384) occurs in Supe (see Pl. 28), though in a slightly different form. In Huaura 4-picos are aligned on one plane (cf. 1211/Pl.33, 1939/Pl.34 in Huaura 2.1, both damaged). A headdress reminiscent of 190 (to a lesser degree of SAC 284) is worn by Supe 1913/Pl.28. The painted "antler" or "branch" design (1348) is very similar to Supe 2062/Pl.24 (not visible on photographs). • 1059 is a rattle, like many Supe figurines. Huaura features 1: • Tab ears (much larger here), decorated with horizontal stripes; • Arms inscribed inside the body outline and/or starting from the chin (cf. 228, SAC 293, 1348 with 1182, 655/Pl.32 etc. in Huaura sg. 2.1); • Short, separate legs; painted stripes across the legs (SAC 293, 228); • Headdress with vertical stripes; • Necklace of large molded beads. Context 2001 from Uhle's Ancón grave M12 was found with a typical Teatino bottle (HMB 45611, see Pl.G5. The grave is dated to Middle Ancón I (MH2-3) and belongs to the end of that period: MH3. P477 comes from Uhle’s Ancón grave T11, were it is associated with at least one other figurine (see Appendix 3, Gravelot to P474/Supe). 1059, found at Ancón 1 in an excavation trench, must also come from a grave. Geographic distribution Three certain provenances are from Ancón, one fairly reliable one from the Huaura Valley. Chronology Uhle’s Ancón Grave M12, containing 2001 dates to MH3, whilst Grave T11, containing P477, has been dated to MH4 (see P474, Supe Chronology). Judging from the similarities with Supe, especially the occurrence of the A1 type of back, most of these figurines probably date to late MH3 or MH4. A SUPE HYBRID EXCAVATED BY UHLE AT PACHACAMAC, GRAVEFIELD 1: 1516 1516 shows a female—the sex is indicated by the raised genital area—with arms folded over the abdomen and short legs. She wears a headdress hanging down to mid-back, a necklace of large molded and painted beads and important disk ear-plugs, indicating high status. The figurine was found dressed in a long white cotton garment "with a decorated band of alternating blue, white and brown stripes. The dress is sewn across the shoulders and down the center of the back, leaving the neck and both armholes open" (Lilien 1956:172) 2. This is a unique specimen. Its main characteristics—the large head, the Moche-related headdress with a panel hanging in the back, the "stepped" face-paint, the large ear-plugs with their ends protruding in the back—are obviously related to Supe figurines. However it was found at Pachacamac and its overall elongated shape, its short separate legs and the air-hole 1 2

Some of these also occur on Supe specimens, where they are identified as Huaura-derived. When I examined the figurine, the dress had been removed. 115

between the legs, atypical for Supe,—in addition to the classic Supe air-holes through the upper arms—occur at Pachacamac. Note also that a hairstyle, consisting of square panel in the back, does occur at Pachacamac (see Chapter 5, Fig.8 - Early MH sgr.2.1), and even earlier on Lima figurines: this is an Atarco or late Nasca-derived feature. The head and upper body appear mold-made, with the legs and perhaps the ear-plugs added. Unlike so many Supe figurines this is not a rattle. The figurine (original no.1079b) was part of a multiple burial with large gravelot (nos.1068-1084). It is worth quoting Uhle's catalogue description: "From a mummy. Fourheaded (sic) grave in an adobe chamber. The mummies are partly those of children and are apparently partly put in layers. The grave is half-way under the most northern (sic: part?) of the lower terrace wall of a temple-like building. P55 (sic) to P57 (sic) belong there. P55 (sic) to the mummy from which nearly all the objects come. This skull has teeth ground off in a remarkable degree (probably from chewing corn meal for the fabrication of chica (sic)". The figurine itself was found in a sewing basket, containing a number of unusual objects (see Appendix 3 for detailed description). These could belong to the mesa of a curandero, but could also have been dyes or ornaments (shell fragments) used in textile production. To my knowledge this is the only late MH figurine, with features typical for the Ancón area but found at Pachacamac. The question is whether this was the burial of a “foreigner”? On the one hand, the associated pottery (see below) would not be out of place in Ancón— though it must be said that the late Middle Horizon pottery from Pachacamac is mostly unpublished (except for Uhle's own publication) and therefore unknown to us. On the other hand, the figurine itself shows traits like the air-hole placed between the legs, which are more typical for local figurines. The figurine comes from “the oldest part of Gravefield I” dating from MH2B and MH3. The associated pottery (see Pl. G5) includes a Teatino vessel (1073), dating roughly to MH3, and two press-molded vessels (1069, 1071), dating to MH2B/MH3 (cf. Menzel 1977: figs. 100, 111). A face-neck (1068) certainly lacks the splendour of MH2B specimens. This and the chronological position of similar figurines within the Supe sequence (cf. 2034-1717) inclines me to date this figurine to MH3. LATE MIDDLE HORIZON GROUP 3: ANTHROPO-ZOOMORPHIC FIGURINES These figurines constitute an entity, especially because of their black colour (less common in sg.3.2) and incised decor, mostly filled with white post-fired pigment; the curious facial features of sg. 3.1 and the wing-like arms of sg. 3.2 have lead me to call them "cats" and "birds" or "fish". Although related to other contemporary figurines they appear to depict specific, probably mythical, "personages". The two sub-groups are described separately and discussed jointly. SUB-GROUP 3.1: "CATS"

Table 12 Plate 30 Sample: 13 Figurines (examined 9) Measurements Maximum Height (10) 17.5 cm Width (9) 7.5 cm Thickness (6) 3.3 cm

Minimum 4.1 cm 2.6 cm 1.2 cm

Median 9.1 cm 5.4 cm 3.0 cm

GROUP CHARACTERISTICS

Small standing figurines. The head has three different crown shapes: bilobed (6), flat (4), pointed (2), broken (1); in profile it is generally completely flat (very slightly rounded 1124, 1163). The face shows no modelling; incised facial decor varies: tearlines (694), horizontal parallel lines (e.g. SAC 346), reverse triangles on cheeks (P.3874), nose-to-chin lines (695), lines from eyes upwards to temples/“specs” : (561, 562, 259) or eyebrows? (SAC 353), circles (2258). Eyes: incised; circular, with two concentric circles (one circle on 561,562) or straight, stylized (2258); appliquéd (259). Nose: modelled, large; straight; nostrils on 259 only. Mouth :

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incised, small, straight (circular on SAC 353); appliquéd lips on 259; no mouth on SAC 346, 561, 2258, 562?. Ears: only shown on 2257, 2258 (pointed protuberances) and SAC 353. Chin: modelled on 695, 562, SAC 353; incised on 2258; straight in profile. Neck: Normally shown, quite long; no neck on 561, 2258, P.3874. The body has pointed shoulders or vestigial arms and tapers towards short, thin, separate legs (exc. P.3874, no shoulders, straight sides); flat or slightly convex profile. Arms: absent (SAC 346, 695, P.3874, 1163), vestigial (e.g. 694, 1194) or extended (2257, 562), folded on SAC 353?, all lacking hands. Legs: short, tapering, splayed outwards on 562, feet are never shown. No umbilicus, no breasts, genitals only indicated on 695, 561 by an incised genital triangle. Back: No features, except incised circles on 2258. Clothing and Accessories Headdress: 695 appears to wear a flat appliquéd cap, decorated with incised circles. Body-paint: All except 695 have an incised decor in the front: mostly rows of circles, alternating with parallel horizontal or diagonal lines; rows of broken lines and dots on P.3874. Ear-plugs with criss-cross design on 2257. Necklace: Row of incised circles on 694, 562, SAC 353. Manufacture: Hand-made figurines, generally solid. Three specimens could be hollow, because of their convex profile, though the holes below the shoulders on 694 and 1163 do not penetrate a hollow area. All except two figurines are black, but mostly made of an oxidized ware with a black slip. The surface is polished, the decor is always incised. The narrow, fairly deep incisions are often filled with a white (in one case red) powdery pigment.

SUB-GROUP 3.2: "BIRDS"/"FISH" Table 12 Plate 30 Sample: 7 figurines (examined 5) Measurements Maximum Height (6) 14.0 cm Width (4) 10.0 cm Thickness (3) 2.8 cm

Minimum 2.2 cm 2.2 cm 0.9 cm

Median 7.0 cm 1.8 cm

GROUP CHARACTERISTICS

Very small, highly stylized figurines, with projections instead of arms and short appendages like tail feathers in lieu of legs, probably representing anthropomorphic birds. The head is broader, shorter than above; all specimens except 1104 show a marked bilobation; flat or slightly rounded or in profile. P.9752 has heads at both ends of the body. The face is rounded, without modelling or decor (exception 2320 face paint with zoning of cheeks and central white panel); two or three concentric circles, sometimes with a depression at the center mark the eyes, the nose is small, rounded, (large, beaky on 2320), without nostrils (except 1104) or alae. Small, incised upturned mouth, broader groove on 506b, no mouth on 2320. No ears, small, rounded chin, straight in profile, strongly marked neck. The short body is characterized by wing-like or fin-like projections (widest point) in lieu of arms: wing-like when curving upwards (869, 1785, P.9752, 1104), fin-like when curving downwards (506b, P.11174, 2320); no hands. Flat profile. The legs are short appendages, like tail feathers or fins, curving outwards, divided down the middle (exception 2320); replaced by second head on P.9752; no legs on 1104. Feet are never shown. No breasts or umbilicus. Genitals: Shown by a deep upwards incision (vulva) on 869, 506b. Back : no features. Clothing and Accessories Headdress: 869, 1785 show incised and punctated triangles which may indicate a headdress; painted vertical and horizontal stripes 2320. Body decor: the "wings" or "fins" are generally outlined by incised parallel lines; painted parallel lines on 2320. Ear-rings: appliquéd, painted with a cross-and-dot motif Necklace: Rows of circles within parallel lines at the neck (869), below ( P.9752), parallel lines only (1785, 506b); 1104 has a large circle below the neck.

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Manufacture: As above, except that all the figurines are clearly solid, with suspension holes through the neck, from side to side. The surface colour is brown or terracotta, one specimen is black, one 3-colour, the decor is incised, with post-fired incrustations as above, except on 2320. DISCUSSION (SUB-GROUPS 3.1 AND 3.2) Links with other groups Although the surface finish is reminiscent of Teatino 1, the incised decor with white incrustation (red on 259) may have been inspired by early Ancón figurines (see sg.1.1, Chapter 2), found by the later inhabitants of the area. There can be little doubt that these earlier figurines, with their characteristic white, red and yellow incrustations also served as model for some classic black Chancay figurines (Chancay Group 1.6.2A/Pl.78, 1.6.2C/Pl.79.) And indeed 2257 (sg.3.1) wearing a typical Chancay headdress with a decorative border and three holes, may well be a late Chancay blackware figurine. Sub-group 3.1: Many specimens are related to “slab” figurines, (Huaura 4/Pls. 42, 43, Chapter 8): same wide angular shoulders, often lack of arms, body tapering towards the separate legs. For instance: P.3874 would have been included in Huaura 4, had it not been for the black ware and incised decor with white incrustation. The form of the bilobation on six specimens is reminiscent of some Teatino figurines (830, 589/Pl.19, Chapter 6). Figurines with a head deformation por llautu 2, resulting in an elongated, pointed head (1163, SAC 353), first appear in the MH (see Early MH Gr. 1, Huaura Gr. 3) and become common in the Chancay culture (Chancay Gr. 2/Pls. 80-87, Chapter 9). Sub-group 3.2 is unique, though an amulet with an anthropomorphic bird's (?) head—a possible predecessor—was found at Nievería (Gayton 1927: fig.6 c, d). The mouth of 506b, is made of a shallow groove which is typical Teatino in its technique (see above MH "Transitional" Group 2, Chapter 6). 2320 is executed in an epigonal-derived 3-colour ware, with a powdery surface reminiscent of some Huaura figurines. Context At least six specimens come from graves: P.1849 from Ancón 1, T.163 and P.9752 from Ancón 1, T.727 were associated with infants, the latter also with a skeleton of advanced age, 869 (P.8313) from Ancón 1, T.633 associated with a woman, and P.11174 with unspecified remains of three individuals. The latter was part of a necklace, as was 561/sg.3.1.: the size and suspension holes of all the "birds" (sg. 3.2)—except the larger 2320—and of 561/sg 3.1 suggest that they were used as amulets. Geographic distribution Huaura Valley

Chancay Valley

Ancón

Sub-group 3.1 ("Cats")

Certain Fairly reliable Unverifiable Sub-group 3 .2:("Birds"/"Fish") Certain Fairly reliable Unverifiable

1

2 ←

2?

→

Chillón Valley

1

4

1

1

The main provenance is Ancón, possibly because of more extensive excavations there. Of the two specimens with unverifiable provenances from the Chillón Valley, 259/sg.3.1 is a somewhat different, much larger head fragment (perhaps later in date?), as is 1104/sg.3.2 from the Huaura Valley, whilst the other Chillón specimen (506b/sg 3.2) is a typical "bird". The Ica According to Menzel (1977:45) white incrustations are typical for the Teatino style, but I found no trace of incrustations in that group of figurines, as the grooves there are too broad and shallow. 2 For details see Chapter 5, Early MH Gr.1, Special features 1

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Valley provenance is unlikely: the collector from whom it was acquired, had labelled the figurine "Paracas Cavernas, Ica Valley". Chronology There is only one association for sub-group 3.1: P.1849 from Ancón 1, grave T.163 is associated with a vessel (P.1848) resembling one from Uhle's Ancón Grave T14 (Strong 1925: Pl.45 n) 1, dating to MH4 (see Appendix 3, and Pl. G5). In addition P.3874, a surface find from Faja 74 at Ancón 1, can be dated by comparison with other “slabs” (Huaura 4) to the late MH or early LIP. Unfortunately none of the data regarding Ancón 1 graves recorded by me come from that particular excavation trench to confirm this dating. Several sub-group 3.2 figurines come from Ancón 1 gravelots (see Appendix 3 and Pl. G5): • 869 (P.8313) from Ancón 1, grave T.633 is associated with a bottle (P.9317) similar to 7316a from grave T. 503, dating to MH3 (Ravines 1981:116); on the other hand a globular bottle with short neck and vertical stripes is closer to a LIP 1-3 specimen (Kaulicke 1983: Abb.55.F) than to MH4 specimens (cf. Uhle's grave T14 in Kaulicke 1983: Abb.55.B3,5,7). Late MH. • P.9752 from Ancón 1, grave T.727 is associated with two Teatino style bottles (P.9761, P.9762), similar to material from Uhle's grave P24 (Kaulicke 1983: Abb.54.B2), dating to MH3. • P.11174 from Ancón 1, grave T.873 is part of a large gravelot, also containing two typical Supe figurines (P.11187 and P.11200), dating to MH4 (see Supe Chronology and Pl. G4). • Finally 1785 was excavated by Bandelier at Ancón. The grave contained two further figurines: one is a Supe-Teatino hybrid (1788/Pl. 29-Late MH sg.2.1) with the same accession number (AMNH B5334), the other is probably lost – unless it is 1787/Pl.29, also from Ancón and also a Supe-Teatino hybrid (Late MH sg.2.1), but with the accession no. AMNH B 5360. 1785 probably dates to MH3/4. Basically, both sub-groups are roughly contemporary, dating to the late MH. However some specimens could conceivably be much later. The late inclusion in the sample of a figurine (2257), similar—in shape and decor—to other sub-group 3.1 specimens like 694, but with a typical Chancay headdress and face (see above, “Links”), raises the question whether other Chancay-like features, such as the incised eye-to-temple lines, i.e. "specs" (562, 561), the elongated head (1163, SAC 353) or the red incrustations (259), do not indicate that the type (or individual specimens) survived into classic Chancay? LATE MIDDLE HORIZON

"INNOVATIVE" FIGURINES GROUPS 1 TO 3 : SYNOPSIS

With the appearance of the Supe figurines (Group 1) at the end of MH2 we see a significant change in the figurine production of the Central Coast. Clearly influenced by the Late Moche and Early MH of the North Coast, the typical Supe figurines, with their large head and squat body, standing on a base (rather than feet) and with no indication of the sex (other than in the clothing), do not really take root on the Central Coast. In spite of evident cross-fertilization of decorative elements between Supe and some local styles, like Teatino or the incipient Huaura figurines (Group 2: Supe hybrids) the Supe style figurines only seem to survive to the end of the MH. Very soon we shall see the flowering of the Huaura and Chancay figurines, with their more naturalistic shapes and proportions. Another remarkable fact is that no Supe figurine has—to date—been found south of Ancón. So that group is indicative of a clear division, taking place from the late MH onwards, between the northern sector of the Central Coast and the southern sector, the frontier being the Strong (1925: 190) lists this vessel (5661) as being from T4, but it is clear from the numbering of objects in T14, ranging from about 4-5609 to about 4-5689 and from Patterson's drawings of the T14 gravelot (Hardy n.d.:126) that it actually comes from T14, not T4. Note that the error is repeated by Kaulicke (1983: Abb. 56A.1). 1

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Chillón valley. And although we may detect some Huaura influence on the earliest Ychsma figurines (see below, Chapter 10), very different figurine styles will now appear in the two sectors. As for the small group of anthropo-zoomorphic figurines (Group 3), they appear to be a short-lived throw-back to a much earlier local figurine style and play a marginal role, though they may also have been copied later, in the Chancay culture?

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CHAPTER 8 THE LATE MH AND EARLY PART OF THE LIP IN THE NORTHERN SECTOR (NORTE CHICO) OF THE CENTRAL COAST: THE HUAURA FIGURINES AND UNAFFILIATED FIGURINES INTRODUCTION From chronicles and legal documents of early post-conquest times, we know of the existence of the Señorio de Huaura whose principal curaca held sway over the valleys of Fortaleza, Pativilca, Supe, Huaura, Chancay and Chillón, though it is not always possible to extrapolate back in time about the exact extent of this Señorio (Rostworowski 1978). A Huaura culture, the manifestation of the Huaura Nation, occupying those valleys, was first briefly described by Mejía Xesspe (1953). According to him, the name Huaura style was first coined by J. C. Tello, enlarging on Uhle's "discovery" of a coastal Tiahuanaco style or styles. Mejía subdivided the Huaura ceramic style into two sub-styles: the Pativilca style, with press-molded and relief decor, and the "Classic Huaura style" with its Wari/Tiahuanacoid polychrome ceramics. He dates these sub-styles to his Third Age (Tercera Edad), between 500 and 1300 AD. This Huaura ceramic style, chronologically straddling the late MH and the early LIP in the Norte Chico, has not yet been the object of a systematic study. According to E. Cruzado "...las pocas referencias que se tienen sobre este estilo, no han llegado a precisar y definirlo; ...muchos autores se han limitado a mencionarlo, pero sin determinar aspectos importantes...tales como: manufactura, decoración, función, tipología y variaciones, a que grupo social podría corresponder, la duración y espacio geográfico de este estilo..." (2008: 2, 6). To remedy this, Cruzado undertook a study of ceramics of that style in local museums, unfortunately lacking associations, and defined nine different ceramic types, all dated by her to the MH. An earlier study, exclusively based on surface finds from two disturbed burial grounds in the Huaura Valley and deposited in the University of Madrid, had been undertaken by L. de Usera Mata in 1972. In spite of the unsatisfactory source of this study, completely lacking in stratigraphic associations, Usera managed to define 11 different ceramic types, six of which correspond to the Huaura style. On the basis of these he established a chronology, progressing from Polychrome Figurative 1, Red-and-white-on-orange and Huaura Tricolour, contemporary with Pachacamac B (MH2B), to Polychrome Geometric and White-and-black-on-red, corresponding to Uhle's Epigonal (MH3-4), and ending with Huaura Red-and-black-on-white corresponding to Kroeber's (1926b) Tricolour Geometric (LIP 1-3). This classification is broadly confirmed by Vallejo (2004) in a study of the Ychsma style, which also emerges during the late MH, but in the southern valleys of the Central Coast, the Rimac, Lurín and Mala valleys. According to Vallejo, the Huaura style, though rooted in the Pachacamac-based Wari iconography of MH2, adopts, during MH3 "características tan propias y particulares (que) hacen pensar de hecho en un distanciamiento religioso y cultural de los iconos precedentes Huari de la época 2" (2004: 603). The earlier iconographic elements disappear, as does, gradually, the polished surface, so that during MH4 only a matt surface treatment survives. During MH4, the variety of stylistic elements, between Huaura pottery from Ancón and from the Huaura and Chancay valleys, as well as the sheer quantity of sites, lead Vallejo to suggest a certain chronological depth, perhaps with two phases, MH4a 1

Huaura Polychrome Figurative is the only type so far studied in depth (see Ichiki 2012). 121

and MH4b, also showing great social complexity. At its height during MH4, this independent style exercises a defining influence on the styles which will emerge at the beginning of the LIP, in adjacent valleys, like Chancay, and even on the Ychsma style. However Vallejo also suggest that towards the end of MH4, "the adjacent valleys start adopting new decorative and morphological elements, quite different from the Huaura style", whilst in the Huaura valley itself at the beginning of the LIP, an entirely new style, which he calls the "Huacho" style, makes its appearance (2004: 603-605). Based on material from more recent excavations in several large cemeteries at Cerro Colorado in the lower Huaura Valley—in fact the only properly documented material for this culture—, Vallejo (2010) has further refined his chronology, especially in regard of the survival of the Huaura style during the LIP in his Huacho style. Because of the limited knowledge of the Huaura ceramic style, it is at first sight not easy to speak of "figurines of the Huaura style". Rather we see a number of figurine groupings, many said to come from the Huaura valley, which share some traits with the little we know of the Huaura pottery style and many traits amongst themselves and which develop separately from other contemporary local styles, in particular from Chancay. But clearly they introduce a new characteristic look into the representation of figurines. This look dominates not only the Late Intermediate Period—including the Chancay figurines—but also survives with little change into the Late Horizon. In addition to the Huaura figurines we find in the same area of the Central Coast a number of figurines which do not fit into the larger groups of the period (Supe, Huaura, Chancay), but which are certainly related to them. These are studied in this chapter as “Unaffiliated figurines”. The relationship between the Huaura and Chancay figurines It is quite common, in archaeological publications, to confuse "Huaura" and "Chancay" 1 figurines. I have found it extremely difficult to differentiate between the two styles, at least at their early stages. Rose Lilien, who made the first attempt at studying Peruvian figurines, lists both early variants—as well as Supe, early Ychsma figurines and others—simply as "Fusional" (1956: 163-195), which indeed they are! For that reason, it is necessary to outline the relationship between these figurine groups: For Lumbreras the Chancay style begins with "post-Wari independence and a series of regional variants known as Huaura (or Epigonal)". This is followed by 3-colour geometric, which eventually gives rise to Chancay black-on-white (1974a:192). Sawyer (1975:121-126) traces the development of the Huaura style from an early phase, closely related to Wari, through to a more independent local style, eventually becoming very similar to Chancay, the latter style developing out of Huaura (1975:129). Ravines speaks of a local form of the Huaura style at Ancón, followed by the Chancay and Inca cultures (Ravines and Stothert 1976:155). All these authors see the Huaura style as preceding Chancay in time. But by introducing and defining his Huacho style, Vallejo (2010), identifies a survival of the Huaura style, contemporary with—rather than preceding—Chancay. The evidence of the figurines helps, I believe, to refine the relative chronology of Huaura/Huacho and Chancay. But since it is difficult to distinguish between the two styles, especially between what I see as standard Huaura figurines (Huaura sg. 2.1) and early Chancay ones (sgs. 1.1 to 1.3) 2, I will outline the somewhat unsatisfactory method leading to my classification: For the Huaura figurines the starting point were a Huaura figurine and an effigy jar illustrated in Katz (1983: nos.156, 157), with characteristics such as arms resting on the One very good example of this: the two Supe/Huaura hybrids, C141, C142 (see Plate 29), were classified as "Chancay". 2 This difficulty is illustrated when we compare Katz 1983: no.159 (see P479/ Huaura 2.1/Pl. 33), assigned to "Coastal Huaura, Huaura style, ca AD700-800", with Katz 1983:.nos. 90, 91 (see P481, P482/ Huaura 2.1/Pl.34) assigned to "Chancay, AD 1000-1500". Iconographically these figurines are practically identical, the only difference being the pottery, red and white on orange, versus black and red on cream. 1

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emphasized genitals, decor of circles on the arms, tear-lines. All these traits occur in Huaura Group 1; they can further be followed through into Huaura Group 2, on figurines acquiring the typical high striped female Huaura headdress and its male counterpart, adorned with two to four picos; many of these figurines are also said to come from Huaura. The gradual picture emerging is that of a group of figurines with a high headdress, fairly squat body, arms lowered towards the genitals or folded horizontally at waist, with a decor of circles or stripes on the arms and/or legs. For the early Chancay figurines one point of departure was a number of figurines already strongly resembling the classic Chancay black-on-white cuchimilcos, but still with folded arms and made in epigonal-related or 3-colour geometric wares (e.g. 1075/Pl.46, 794/Pl.47 in Chancay 1.1.1 and 1.1.2). Another point of departure was a number of figurines with two sets of arms excavated at Ancón (e.g. 225/Pl.50, Chancay 1.2), also clear predecessors of later Chancay figurines. Observable characteristics (not always all present!) are: smaller heads, with a wider, lower or bilobed crown; the headdress with simple vertical stripes does occur, but there are many other types as well (horizontal ornamental band, perforated brim, etc.); arched eyebrows, elliptic eyes, absence of tear-marks; a more elongated or narrower body, arms often folded upwards on the chest, hands frequently with only three fingers, larger genital triangle starting at the waist; total absence of males. But these distinctions between Huaura and Chancay figurines are often overlapping and blurred. Obviously the wares and especially the colour palettes would also be significant elements of differentiation. So far only the more polished 4- or 3-colour ware of early Huaura at one end of the spectrum and the very typical black-on-white Chancay ware at the other end are clear stylistic markers 1. Unfortunately the method of data gathering for this study, which consisted in examining and photographing (in black and white) a great mix of figurines as available in the various collections (not anticipating the headache they would one day create!), was not conducive to the fine-tuning of ceramic types. During the classic Chancay phases—I was unable to establish a proper chronology for Huaura—Chancay becomes the dominant style in the area and more or less takes over Huaura features into what I call the Chancay-Huaura sub-style. This is a group of figurines which I saw as belonging to Chancay, but strongly influenced by Huaura, with a fairly precise set of characteristics (see Chapter 9: Chancay sg. 1.5, Group Characteristics). We also find a number of Huaura figurines, with a strong Chancay resemblance, but less specific distinctive traits; their inclusion amongst Huaura figurines, rather than Chancay, is debatable (see Huaura Gr. 2, Discussion). Both these sub-groups very likely belong to Vallejo's Huacho style, which he defines thus (2010:234): "El estilo Huaura es .... base y sustento del estilo Huacho, al punto que ambos están inscritos en un mismo proceso continuo sin cambios radicales entre el HM (= MH) y el PIT (= LIP)...La fuerza del HM4 en el valle de Huaura es tan evidente que no se nota una ruptura radical entre el HM4 y los inicios del PIT, manteniendose muchos de los elementos morfológicos e iconográficos. En un momento surge una cerámica local definitivamente más tardía que la llamaríamos provisionalmente Huacho, para luego pasar a la cerámica Chancay, que debe llegar con mayor dinamismo hacia la mitad del PIT.

But until the Huacho style and its phases are more clearly defined, it seems preferable to leave the present classification as is. As far as a relative chronology between the Huaura and Chancay styles is concerned, the following outline can be deduced from the figurines: The earliest Huaura figurines (see Huaura Groups 1, 3, and 4 and the earlier figurines in Huaura Gr. 2) certainly precede Chancay. This can be seen in many Middle Horizon features and in the use of a 4-colour epigonal-type ware with a polished surface, later replaced by the In my 1995 PhD diss., I wrote: "To my knowledge no significant assemblage from the lower Huaura valley has ever been published. Such an assemblage would probably show up a local pottery, with a coarser ware, rougher surface finish and a more pinky tinge resulting in a "reddish brown-on-pink" pottery style, distinct from Chancay "black-on-white". A few such gravelots have now been published (Vallejo 2010: Figs. 6-9, 15, 19, 20) 1

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3-colour epigonal-related ware. During the next phase there appears to have been a nearly contemporaneous development of typical Huaura and early Chancay figurines, both associated with (local variants of?) the epigonal and 3-colour-geometric styles and occurring in two marginally overlapping areas: the Huaura style in the Huaura valley and also partly in the Chancay valley, the early Chancay style occasionally in the Huaura Valley, but mainly in the Chancay valley, Ancón, the Chillón valley. Evidence for this distribution pattern is: a) negative: no standard Huaura figurines occur amongst the late MH/early LIP material excavated at Ancón (see Kaulicke 1983), though we find Huaura-related specimens there; b) the one and only classic Huaura figurine with folded arms (the illustration is very poor) from a recorded excavation comes from Cerro Colorado, Huacho (Ruiz Estrada 1981: 9). This figurine is said to be associated with "Chancay material" without specifying whether 3-colour or black-on-white Chancay: this could be yet another example of the lack of differentiation made until recently between the Huaura and Chancay styles. The relationship and distribution is less clear for the latter phases of both styles: it would appear that Huaura figurines are replaced by what I call the Chancay-Huaura sub-style (see Chancay Sg. 1.5) both in the Huaura and in the Chancay valley. However some specifically Huaura figurines (especially the coarse, low-fired variety)—distinct from Chancay and from Chancay-Huaura—continue to be produced, perhaps in somewhat marginal areas, till the later part of the LIP (see Huaura Gr. 2, Chronology). Unfortunately there are not enough documented provenances to identify local variants. Looking at the Huaura and Chancay figurines together, specimens from the same site—say Centinela (Huacho), San Isidro de Sayán (Huaura valley), Pisquillo (Chancay)—can be very different and are scattered here throughout the Huaura and Chancay groups. Explanations for this heterogeneity may be: • the small amount of figurines from any given site; • that the sites may have had a long occupation; • that huaqueros offer their wares for sale at the better known sites, even though they may have been found elsewhere. • that different types could well have been made at the same site. But, as a result, there is no evidence for "local" stylistic variants. Considering the tremendous diversity of the Huaura figurines the impression is that we are dealing with a freer play of the creative imagination, springing perhaps from less dogmatic ritual concepts than in the case of the Chancay figurines? THE HUAURA FIGURINES THE CLASSIFICATION OF HUAURA FIGURINES

The 171 Huaura figurines are extremely diverse and attempts at a proper classification are very taxing. As the Huaura pottery style itself is not yet clearly defined, many iconographic and stylistic features may be specific for this area of the Central Coast in general, rather than for the Huaura style in particular. Rather than establish a great number of sub-groups, the material has been divided into the largest units possible, within which smaller groupings are outlined: • Group 1: Nine Figurines with animal characteristics and with hands placed on the genitals: the group is homogenous both iconographically and probably chronologically. • Group 2: 119 based on what I see as the standard Huaura figurine—is subdivided into three sub-groups : - sub-group 2.1 with folded arms; - sub-group 2.2 with two sets of arms, one folded, one extended; - sub-group 2.3 with extended arms • Group 3 : 12 Figurines with an elongated and/or pointed head. 124

•

Group 4 : 31 Flat, solid figurines ("Slabs").

HUAURA GROUP 1: FIGURINES WITH ANIMAL (OR MYTHICAL ?) FEATURES AND HANDS PLACED ON THE GENITALS Table 13 Plate 31 Sample: 9 figurines (examined 7) Measurements Maximum Minimum Median Height (6, standing) 15.8 cm 12.5 cm 14.5 cm Height (3, sitting) 13.0 cm 11.8 cm 11.9 cm Width (8) 11.4 cm 7.4 cm 8.6 cm Thickness (8) 7.2 cm 5.5 cm 6.1 cm GROUP CHARACTERISTICS

A fairly homogenous group of figurines, standing or sitting, characterised by a highly stylized face with animal features and long thin arms, extended towards the genital area. The head represents about one third of total size, is much wider than long, with a rounded crown; in profile tilted backwards (standing figurines only); the back of the head is minimally flattened, less so than on other Huaura figurines; 761, P478, 659 show parallel lines in black, white and/or red which may represent hair or a headdress. The round face is foreshortened, and lacks modelling; face-paint is always present and consists of cheek-zoning and/or tearlines; 119 has white lines extending sideways from the nose, 536 has incised nose-to-chin lines; 761, 119, 660 have markings below the mouth. Eyebrows: Mostly in slight relief at the edge of hairline or headdress; not shown on 119. Eyes: Circular, mostly with raised lids and pupils, both painted black, with flat eyeballs painted white. Nose: Large, curved; nostrils and alae on 536 only; several specimens have a black line along the bridge of the nose (e.g. P478). Mouth: Stylized, elliptic, relief lips painted black, inside painted white (119 with teeth). Ears: Flat semi-circular or elliptic tabs, placed high on the head; mostly decorated with parallel painted lines. The chin is round to oval, jutting or straighter, mostly outlined in black. The neck is clearly shown in front, less marked in the back. The standing figurines have a squat, cylindrical body with drooping shoulders, the sitting specimens have a more elongated upper body, 536 and 1017 show some modelling of the thoracic cage; the profile on both types is straight or slightly convex (536: see discussion). The arms: mostly modelled in the round, partly detached from the body, long, tubular, (except 1722, 659, 1017), folded towards the genital area; the elbows mostly mark the widest point of the figurine. The hands can have five (also four or three) molded, sometimes painted, fingers. (536 see discussion). Legs: The standing figurines have short cylindrical stumps, completely or partly separated, some with slightly protruding feet with painted or incised toes. The sitting specimens have broad thighs (660), with thinner lower legs and paw-like feet (on 536, 1017). All are fairly stable. Breasts: not shown. Umbilicus: not shown (exception: semi-spherical protuberance on 536). Genitals: not indicated on SAC 399, P478; shown by a marked protuberance (mons Veneris?), e.g. 761, 119, 660; on 1722 the vulva is indicated by a groove, on 659 the clitoris is modelled inside the labia; 536, 1017 show erect male genitals. Back: On the standing specimens the neck, waist and separation of the legs are generally indicated by grooves; the painted hair or headdress (761, 119, others?) is also shown; on the sitting 660 we see the folded thighs and a hanging scarf 536 appears to have another figure sitting behind it? (see Discussion.) Clothing and accessories: Headdress: 761, P478, 659 have painted parallel lines starting from the forehead and descending to the neck in the back, representing hair or a head-dress; 119 wears a black cap with rows of white dots with a black centre; 660 wears headdress, with a rectangular panel reaching to mid-back, showing a textile with wide black borders and a central strip, and two white bands with a zigzag and dot design. 1017 wears a semi-circular headdress, forming a "crest". Body markings or clothing?: are shown on the chest and arms of all specimens (except 1017, which has a worn surface); they consist of chevrons, steps,

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crosses, circles with central dots, stylized birds on 660. Necklace: P478 wears a row of large painted beads, 659 similar molded ones. SAC 399 has a collar of pendant triangles. Manufacture: The bodies appear generally mold-made, with—in six cases—hand-modelled arms added. All are hollow with air-holes behind the upper arms; 659 has an additional hole on the top of the head. The ware appears to be mostly of a 4- or 3-colour, MH2 and epigonalderived type, with designs in black or brown, white and red or purple (or black/brown and white) on an orange or terracotta background. It often has a medium to coarse texture, but the surface finish can be highly polished. DISCUSSION

Special features This type of figurine has been interpreted as an "anthropomorphic feline" (Katz 1983:282), but only the shape of the face with its tab ears and the "spots" on the arms are reminiscent of a feline, whereas essential characteristics such as fangs are absent. The long arms could point to monkeys: monkey figurines occur in the Chancay culture, but they have characteristic monkey heads. This may be the representation of an unknown mythical creature. The genitals—emphasized by the hands framing them—are also unusual. Five specimens appear to be female, having either a prominent mons Veneris (761, 119, 660), a slit representing the vulva (1722, perhaps also SAC 399, P478?) or a stylized rendering of the clitoris inside the vulva (659). The two males appear to have an erect penis (536, 1017), with small testicles on 536 only. The importance given to sexual characteristics is a specific Huaura feature, as we shall see in other Huaura groups. The representation of the clitoris, rare amongst Peruvian figurines in other areas, becomes quite common on the Central Coast during the Late Horizon. 536 appears to represent two personages sitting one behind the other: the profile shows the outline of two heads and two pairs of folded legs, (one of them terminating in claws?), whilst frontally we see two pairs of arms, one pair resting on the knees, the other, with long molded fingers, extended towards male genitals with erect penis and molded testes. Note that this is the first occurrence on a figurine of folded legs shown as long, thin appendages. Antecedents for what later becomes a typical Central Coast Late Intermediate rendering of the legs occur on effigy jars of Paracas Cavernas (Larco 1966: fig.109) or the Lima style (Stumer 1953: fig.15). Links with other groups • Facial zoning, with the painted area outlined in a darker or lighter colour, sometimes also forming a stepped edge occur in Supe, Supe/Pachacamac hybrid (1516), Huaura 2.1, 2.3, 4; • Circular eyes with small central pupils are common for the Late MH Group 3 ("Cats/Birds", see Chapter 7), Huaura groups 2, 3, 4; they can occur sporadically in other groups. • Tear-lines are common during the MH, but as seen here—white lines outlined in black (761) or long white lines on darker grounding (P478, 660)—they are an unusual early form, shared by only four Huaura 2.1 figurines; • A line along the bridge of the nose first appears on late Nasca figurines (see Nasca Gr.3 (Vol. III, p.47 + note 1) and becomes common during the MH in Central Coast MH groups (see Early MH Group 1, Late MH Gr. 1 (Supe), some Huaura 2.1, etc.), as well as in North Coast MH figurines (see Vol. I: P116/Pl.41), South Central Highlands, etc. • Tab ears with painted horizontal parallel lines occur on Supe/Huaura hybrids (SAC 283, SAC 293/ Pl. 29), in the earlier part of Huaura 2.1 (e.g. 655/Pl.32) and some Huaura 2.3 (e.g. 610/Pl.37).

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• Painted decor on arms, generally circles, sometimes a zigzag motif: Huaura 2.1 (e.g. 434/Pl.33) and 4 (e.g. P491/Pl.42), as well as on the North Coast (see Vol.I: 2357, 1944/ Pl.40-NC-MH Gr.3). • Horizontal stripes across the legs (P478): a typical Huaura innovation (see 228, SAC 293/Pl. 29:Late MH Gr. 2, Supe-Huaura Hybrids), which becomes very common in Huaura 2 and early Chancay. • A necklace of a single row of large beads (P478, 659): Although necklaces are common in other cultures, this type is very distinctive and makes its first appearance during the Late MH (see 663/Pl.23-Supe). It is common in Huaura 2, 3 and some of the late MH/early LIP "Unaffiliated figurines (Pl.44), early Chancay (Pls. 46-50). • A vertical painted panel, probably representing a textile, painted on the chest or abdomen (1722): see Supe, Supe/Huaura hybrids (Pl.29), rarely later (580/Pl.39). • A square headscarf hanging in the back (660): this appears to be the Moche headdress, imported to the Central Coast by the Supe figurines (cf. Supe back type A, Chapter 7). It also occurs on Wari-Pachacamac figurines, but there it probably represents a hairstyle, derived from Nasca via Atarco (see Fig.8, Chapter 5). • A collar of pendant triangles (SAC 399): also occurs on 580/Pl.39 Huaura sg. 2.3 and 352/Pl.41-Gr.3; on classic Chancay face-necks it is worn by high-status figures (Schmidt 1929:249 left; Lavalle and Lang 1982:79). Context There are no available data. A mythical interpretation of this personage is possible. The "double" representation (536) might be involved in a sexual act. A sexual dimension could also explain the enlarged mons Veneris and clitoris of the female specimens. Although there are numerous realistic representations of males amongst Huaura figurines, sexual activity is not normally depicted on Central Coast pottery, in contrast of the erotic pottery on the North Coast – and to a lesser degree on the South Coast. One vessel in the same style as these figurines (Katz 1983: no.157) shows the same personage. Geographic distribution The site attribution for Supe is reliable, the one for Huacho unverifiable. The similarity with the Huaura pottery style, to a lesser degree with Supe and early Chancay, as well as isolated North Coast elements, may point to a distribution in the northern sector of the Central Coast, between Supe and Chancay. Chronology In Usera's classification of Huaura wares (Cruzado 2008:8), the only ware with an orange ground colour is Type 6: Huaura red and white on orange. Compared with the ware in this group, it lacks the important fourth colour, i.e. black. But we see that Ichiki (2012), who has made a specific study of the design elements in Usera's Huaura Polychrome Figurative, includes 536/Pl.31 (2012:fig. 2b) in that ware. This is assigned by Usera to Pachacamac B, which dates to MH2B. But on the basis of several Ancón gravelots, containing vessels of that style or related to it, Ichiki (2012:5ff) comes to the conclusion that MH3 is a more likely date. The well polished orange ware decorated with vivid colours (4-colour, epigonal-related) corresponds to Sawyer's earliest phase of the Huaura style (cf. Sawyer 1975: fig.178). Katz (1983: 282-283) attributes specimens of this group to the Huaura style, dating them to AD 700-800. Some design elements, such as the un-outlined white dot, chevrons or "steps" are reminiscent of MH2, though they survive into the later MH phases (Menzel 1964:61). The lack of (or minimal) cranial deformation normally occurs in the earlier MH (cf. Early MH Gr.2/Wari-Pachacamac figurines, Chapter 5). We have also seen traits shared with late North Coast MH groups. The cursive design on 660 is reminiscent in style to 2014/Pl. 23-Supe, dated by Menzel to MH4, whilst the collar with pendant triangles survives into classic Chancay. The greatest resemblance is with Huaura sg. 2.1 figurines such as 550, 1182, 655,

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1195/Pl.32, though these may be slightly later. This leads me to assign this group mainly to MH3, though it may well survive into MH4. HUAURA GROUP 2: STANDARD FIGURINES The 119 Standard Huaura Figurines are divided into three sub-groups according to the position of their arms, which plays an important role in the chronology of this group:

• Sub-group 2.1: Standard Huaura figurines with folded arms • Sub-group 2.2: Standard Huaura figurines with two sets of arms • Sub-group 2.3: Standard Huaura figurines with extended arms The three sub-groups are described separately, but discussed jointly SUB-GROUP 2.1: STANDARD HUAURA FIGURINES WITH FOLDED ARMS

Table 14 Plates: 32-36 1 Sample: 69 figurines (examined 52) Measurements Maximum Minimum Median Height (63) 58.8 cm 10.0 cm 18.3 cm Width (57) 28.0 cm 5.2 cm 10.2 cm Thickness (60) 14.0 cm 4.0 cm 6.1 cm Weight (25) Over 2000 gr. 240 gr. 550 gr. Sub-group 2.1 is the largest (58%) of the three sub-groups of what – for want of a better word – I call standard specimens, with a core of typical specimens, the remaining figurines being predecessors, successors or more distant relations. With this incredible variety it is extremely difficult to organise sub-group 2.1 into a coherent whole or to single out "atypical" specimens: they would simply be too numerous! The "typical" or standard Huaura female is embodied in 47/Pl.32, with 1184/Pl.34 being the strongest male candidate. However a great number of different groupings are discernible: • 550 to 1193/Plate 32: 11, mostly squat figurines, with hands placed on the genitals; • 1194 to 1399/Pls. 32, 33: 14 typical (or "standard") Huaura figurines, mostly with detailed painted decor in four or tri-colour ware, several with a polished surface; • SAC 292 to 437/Pl.33: eight figurines mainly white and red on terracotta, possibly representing a localised ceramic tradition; • 422 to 1945/Pls. 34, 35: 20 fairly typical Huaura figurines, but of a courser finish, often fired at low temperature or unfired; • 1188 to SAC 286/Pl.35: 10 specimens, which could be called atypical, because of their great variety, but still undeniably Huaura; • 1813 to 784/Pls.35, 36: eight large specimens, probably mostly hand-made: these could be considered atypical. GROUP CHARACTERISTICS

As already stated, this is an extremely heterogeneous group of medium-sized to large standing figurines. Head: generally large (35%-60% of total height), often the widest part of the figurine (at the ears). The crown is either rounded (females) or ending in projections of the headdress (males); exceptions: the females 2409/Pl.35, 677, 784/Pl.36 have angular headdresses. In profile there is a marked flattening, indicating fronto-occipital deformation; 140/Pl.34 is double-faced. Face: Depending on the height of the headdress, the proportions can be normal or foreshortened (cf. 434 with 656/Pl.33); minimal modelling. Face-paint is nearly always present: all-over contrasting colouring, zoning of the cheeks or the eye area (on 550/Pl.32 with molded ridges), or step decor on the cheeks (e.g. 1193/Pl.32). In addition there are other common face-markings: outlining of the chin (ca 95%); tear-marks (ca 30%), mostly Several pictures are based on the photographic archive of the late Santiago Agurto Calvo, which I was allowed to photocopy, but are therefore of poor quality.

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shown as two vertical or diagonal lines (e.g. 437/Pl.33), more rarely single (e.g.655/Pl.32, curved, e.g. SAC285/Pl.35); painted and/or modelled diagonal nose-to-chin lines (circa 30%, single or double). Eyebrows: Often modelled as a straight line at the edge of the head-dress. 1194/Pl.32 has arched painted eyebrows, 437/Pl.33 painted dots. Eyes: 56% are circular, the rest elliptic (cf. 550/Pl.32 with 437/Pl.33), mostly with molded lids and eyeballs, both often painted. Nose: Stylized, often chipped; about 50% have a pointed (e.g. 573/Pl.32) or aquiline (e.g. 1338, 1183/Pl.33) nose, the rest a typical "rectangular" (e.g.655/Pl.32) or rounded nose (e.g. 613/Pl.35). Nostrils are practically never shown, alae never. A number of specimens have a painted line along the bridge and/or lines, dots etc. on the sides of the nose (e.g. 551/Pl.33). Mouth: Stylized, molded lips, often painted. The interior of the mouth can be painted white, sometimes showing teeth (e.g. 655/Pl.32). Ears: 84% have tab ears (some now broken), often painted white or with parallel lines (1184/Pl.34 with dots); on some specimens the ears are indicated by small, round ear-plugs, within the outline of the face (e.g. 1521/Pl.32, 437/Pl.33); no ears: 677/Pl.36. Chin: normally round, rarely slightly pointed (1189/Pl.32); in profile straight or slightly jutting; always outlined in paint and/or thickened. Neck: Mostly short, often shown only at the sides and/or the back, more marked on the large specimens (2409-784/Pl.35, 36). Body: Varying from extremely squat (e.g. 1189/Pl.32) to near normal, though the head tends to be large. The lateral outline goes from rounded shoulders and/or elbows (e.g. 1345/Pl.32, 1211/Pl.34) to completely straight with no shoulders (e.g. 1182/Pl.32, 876/Pl.35), with legs generally straight (e.g. 1194/Pl.32), but also tapering (e.g. 1338/Pl.34), rarely widening (e.g. 4/Pl.33) towards the bottom (exceptions: 2409 -784/Pl.35, 35. Note the projecting shoulders of 604, 790/Pl. 34, SAC 272 /Pl.35. Unfortunately not enough profiles were photographed, but sketches show a great variety of shapes, mostly fairly flattened, but also including a number of figurines with a "classic" profile similar to 1803/Pl.33; the posture also varies and— depending on the feet—can be straight or leaning backwards or forwards (cf. 655 with 1345/Pl.32 or 4, 1338 with 1183/Pl.33). Arms: molded (exception: 1813, P484/Pl.35, painted), mostly folded at the abdomen, either just above the genitals, at or above the waist; six specimens (550-1195/Pl.32) have arms extended downwards towards the genitals; on 197 1, 551/Pl.33, 1884/Pl.34, 1051-1054/Pl.35, 678, 784?Pl.36 folded upwards. The arms vary greatly in thickness; they are always molded (except 655/Pl.32, painted); they are often inscribed inside the outline of the body (e.g.. 1182, 655/Pl.32, 551/Pl.33, etc.). About 60% are decorated either by a simple painted outline or with circles, a zigzag-and-dot design, or transversal lines. On 1182, 1345/Pl.32 the arms are joined by a continuous painted line across the chest. The pair SAC 285-SAC286/Pl.35 have no arms (unless they are shown covered by a poncho-like garment?) The hands are nondescript, mostly only indicated by molded and/or painted fingers, varying in number—even on the same specimen—from three to five (e.g. 655). Legs: greatly vary in length (cf. 1193/Pl.32 with 611/Pl.35); about 50% are completely separated, with a circular to flattened cross-section and minimal modelling; the remaining 50% are conjoined, only divided by a deep groove along the inside of the legs, at the front and back (e.g. 1228, 1192/Pl.33). Legs are often decorated with horizontal lines, circles and other designs (e.g. 47/Pl.32, 437/Pl.33, 2408/Pl.34). Feet are indicated on ca 45% by painted and/or incised toes (e.g. 1194/Pl.32, 1211/Pl.33) and can protrude, more often at the front, sometimes also at the back; but many specimens have no feet (e.g. 437/Pl.33, 1188/Pl.35). Most specimens are fairly stable. Genitals: 44 females, 21 males (six couples) + three probable females, one probable male. In the few instances where the genitals are not indicated or hidden, the sex can be safely deduced from the headdress worn (see below). The female genitals can be rendered: a) by enlarged lips of the vulva and clitoris (e.g. 550, 1182, 655, 1521/Pl.32, 197/Pl.33, SAC 285/Pl.35); b) by a prominent mons Veneris (e.g. 1195, 1345, 1226/Pl.32); c) more rarely by a painted genital triangle, mostly confined to the lower abdomen, with or without a groove marking the 1

197/Pl.33 has very thin, low relief arms, folded upwards: they are not visible on the photograph. 129

vulva (e.g. 658, 1193/Pl.32, with painted pubic hair on 47/Pl.32, 437/Pl.33, etc.). The males have prominent appliquéd genitals (some without testes). There are six male/female pairs. Breasts: 15 or more females have small molded and/or painted nipples, but they also occur on 12 males (e.g. SAC 292, 1183/Pl.33, SAC 467, SAC 464/Pl.35 etc). Umbilicus: Indicated on eight specimens. Back: Mostly straight, more rarely slightly convex (e.g.1803/Pl.33), with some modelling at the neck and lower back; 573, 47/Pl.32, have two molded vertical lines in the middle of the back, 197/Pl.33 has molded hair, 437/Pl.33 a molded design. Any painted decor is confined to the back of the head. Clothing and accessories Headdress: All specimens wear a head-dress, strictly differing according to sex. The female headdress is mostly rounded at the top (exceptions: 2409/Pl.35, 677, 874/Pl.36, with angular headdresses), varies in height and covers the forehead. The decor generally consists of stripes, mostly vertical, alternating in colour, width or shape (straight, wavy, lines of dots), perhaps representing feathers; a few specimens have diagonal or criss-cross lines; SAC 220, 1345/Pl.32 only have a horizontal band with painted motifs, SAC 272/Pl.35 an all-over design of painted circles and dots, SAC 368/Pl.35 has a plain headdress with a molded edge. The male headdress, mostly quite high, is always adorned with picos: out of 21 male headdresses, two have four picos (broken on 1211/Pl. 34), eight have three picos (including 611/Pl.35, with a different central pico), five have two picos; the picos on the remaining six males are broken off. The picos vary in length and shape (cf. 551/Pl.33, 1884, 1939/Pl.34, 1222/Pl.35), note the truncated shape of 790/Pl.34; picos are often perforated (adorned with feathers on 1184/Pl.34). Clothing/Body-paint: The majority appear to be naked: markings on the chest (e.g. 1194, 47/Pl.32, 1183, 1196/Pl.33, 2408/Pl.34) or on the arms and legs (e.g. 434, 437/Pl.33), possibly even the outline of the genital triangle, probably represent body-paint or tattoos; 551, 437/Pl.33 have horizontal stripes (437 also wavy lines) painted on the sides of the bodies; the male/female pair 1183/1196/Pl.33 is covered with an overall pattern of wavy lines and dots. Some clothing appears to be worn by: SAC 368/Pl.35 with a knee-length tunic, SAC 385-SAC 386/Pl.35 covered by a poncho?, P484, 2409/Pl.35, as well as 678, 677, 784/Pl.36 show a vertical band which looks like a textile, on the latter the overall painted decor of small crosses may represent a tunic. Several figurines were recovered wrapped in textiles (P479, P481, P482/Pl.34, 1400/Pl.35). Ear-plugs: are relatively rare. SAC 368 clearly wears small ear-plugs, whilst 1521/Pl.32, 1399, 551, 437/Pl.33, 1884/Pl.34, 1316, 64/Pl.35 have small circular studs at the temples, which could also be ear-plugs (see Discussion). Necklace: Circa half the sample, male or female, wear a single row of large, molded, semispherical beads, often well spaced-out, sometimes painted white; SAC 368/Pl.35 wears a necklace of three molded bands, 784/Pl.36 a (hollow?) band decorated with two rows of holes. A few specimens have only a white line painted at the neck. Wristband: A painted line at the wrist is common, but does not appear to represent a bracelet. Manufacture: All the examined figurines, except six specimens (1813 to 784/Pls. 35, 36) are mold-made, though a few may have a hand-made back and several have appliquéd hand-made features, such as male genitals. The joins are often ill-fitting at the sides or at the top of the head, the front protruding above the back (e.g. 422/Pl.34). The majority are hollow, three figurines are solid; ten specimens lack air-holes, but could also be hollow, because on some of them the lateral joins between the two molds are clearly visible (e.g. 1184/Pl.34) and some have roughly the same weight as hollow figurines of similar size, like 1226/Pl.32 (18.2x12.4x4.8=540 gr.), compared to 1939/Pl.34 (17.5x9.2x7.2=550 gr.). Of the 51 recorded air-hole locations: 14 (27.45%) are at the neck or shoulders, 20 (35.21%) behind the upper arms, five (9.8%) under the feet, one behind the upper arms and under the feet, one at the waist and 10 (19.6%) have no air-holes, though they appear to be hollow.

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A great variety of wares are represented. The painted decor, not a slip—often only applied in front and to the back of the head— appears in various colour combinations. Of the 67 colour combinations recorded, the most common is a 3-clolour combination (39=58.2 %), next is the 2-colour combination (13= 19.4%), then the 4-colour (both 12= 18%) and monochrome (3=4.5%). The base colour is predominantly red (69%) in different shades (terracotta, red, orange, purple) or cream (24%): a particular "pinky-buff" is a very characteristic shade. The quality of the wares also varies: the high-gloss variety, occurring in Huaura Gr. 1, is mostly replaced by a mat finish; on the whole, the wares tend to be rather coarse, sometimes fired at low temperatures; a few specimens appear not to have been fired at all. SUB-GROUP 2.2: STANDARD HUAURA FIGURINES WITH TWO SETS OF ARMS: ONE SET FOLDED, ONE EXTENDED

Table 15 Plate 36 Sample: 6 figurines (examined 5) Measurements: The height varies between 24.1 and 11.2 cm, the width 18.0 and 8.9 cm, the thickness between 8.0 and 3.5 cm; the weight goes from over 1000gr. to 130 gr. DESCRIPTION

The one male has a characteristic headdress with three picos, the remaining females have rounded headdresses; the head is flattened in profile, except on 542, with a rounded profile. Facial features are similar to equivalent figurines in sgs. 2.1 and 2.3 (cf. 1701 with 140/Pl.34 or SAC 271 with SAC 1400/Pl.35), except 1063 with its larger eyes, thicker lips and nose with nostrils and 542, with its upturned mouth and strong modelling of the nose-to-chin area. The body is also roughly similar, except for the representation of two sets of arms: the folded arms, with sketchy hands, are folded above the waist, upwards on 1701, the extended arms are very short and lack hands on 1401, 1701 and 2181, they are longer (SAC 271) and have hands with incised fingers on 1063, 542. Legs are conjoined, slightly modelled with small feet, except on 542: cylindrical, completely separate, lacking feet. 1401 is clearly a male with appliqué organs and the typical headdress, 1701 to SAC 271 are females, with raised and/or outlined genital triangle; no genitals are shown on 542, although the headdress with two picos should indicate a male. The profile, as seen on 1701, 1063, is fairly typical, more rounded profile on 542. The back is featureless Clothing is not worn (1401 is wrapped in a textile), but the typical stripes across the arms and legs indicate body paint. Three headdresses are decorated with vertical stripes, 1063 has a border of white (? ) circles with central dot, SAC 271and 542 have a plain headdress, the latter with two picos. Necklaces are worn by 2181 (large beads), SAC 271 (a "torsade"), 542 (a painted line with pendants ?). Manufacture: All the specimens are mold-made (including SAC 271), 1401 and 542 with hand-made elements (genitals, face?), but only two are known to be hollow (SAC 271 is probably hollow also), with air-holes at the waist. Five specimens are in a 3-colour ware, but four of them with the typical Huaura pinky-buff or cream base colour, with black and white and fired at low temperatures, one only with a red base; one is said to be terracotta only. SUB-GROUP 2.3: STANDARD HUAURA FIGURINES WITH EXTENDED ARMS

Table 16 Plates 37-41 1 Sample: 44 figurines (examined 27) Measurements Maximum Height (42) 51.0 cm Width (37) 33.0 cm Thickness (37) 12.7 cm Weight (17) over 2 kg.

Minimum 11.3 cm 7.5 cm 3.5 cm 300 gr.

Median 31.5 cm 19.5 cm 8.0 cm over 1 kg.

1 I had originally included here a figurine published by Cruzado (2008: Invent. No. CE-07) as a Huaura figurine, but on further analysis I have now moved it to early Chancay (see P486/Pl.52-Chancay 1.3.1.B).

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GROUP CHARACTERISTICS

Another very disparate grouping of figurines, with no attempt to isolate atypical specimens, like the two hunchbacks 1224, 1723/Pl.37 which clearly belong to the Huaura ceramic style, or curious specimens like 1070/Pl.38, SAC 413/Pl.40, etc. Basically sg. 2.3 is very similar to sgs. 2.1 and 2.2, except for the extended arms and the appearance of many more hand-made, coarser, larger specimens. The numerical proportion of certain features also changes, which may indicate a chronological dimension. A number of sub-styles are present in all three sub-groups. To give a few examples, compare : • the genitals of 1018/ Pl. 37-sg.2.3: with those of 550, 1182/Pl.32-sg. 2.1, or its the very high headdress with 1180/ Pl.34-sg. 2.1; • the overall look and the ware of 610, 609/ Pl.37-sg.2.3 with 1939, 140, 1173/ Pl.34sg.2.1 or with 1401, 1701/ Pl.36-sg.2.2; this is definitely a sub-style. • the size and overall look of six figurines SAC 301 to 1402/Pl.37-sg.2.3 with SAC 1400/ Pl.35-sg.2.1 and SAC 271/ Pl.36- sg. 2.2. These eight figurines represent another clear sub-style. Unfortunately six of these figurines are only known from the SAC photographic archive: I have no data about their manufacture (f.i. air-holes) and no provenances. • SAC 471, 778/Pl.38-sg. 2.3 with 693, SAC 467, SAC 464/Pl. 35-sg. 2.1, same large cream or white male figures, with a headdress of two or three short picos. As in sgs. 2.1 and 2.2 the crown of the head depends on whether it belongs to a male or a female (see Headdress, below), but we see an increase of rectangular crowns on females, as opposed to rounded ones. The proportions of the face vary greatly, from foreshortened (see Pl. 39), to normal (e.g. 2410/Pl.38, to elongated (e.g. SAC 413, 798, 1905/Pl.40). Face-paint is nearly always present, though not always visible on the photos: it either covers the whole face (e.g. SAC 261, SAC 260/Pl.37, 566/Pl.38, SAC 097/Pl.39), the eye-area (e.g. 610/Pl. 37, SAC 412/Pl.38, 1105, 580/Pl.39) or the cheeks (e.g. 586/Pl.38); tear-lines are also quite common, in pairs, straight or curved, (e.g.1224/Pl.37, SAC 249/Pl.39) or in threes (e.g. 610/ 609/Pl.37), as are nose-to-chin lines, painted (e.g. 1070, P488, P489/Pl.38) or incised (e.g. 608/Pl. 39, SAC 413/Pl.40). Eyes now tend to be elliptic, with clearly defined pupils and lids (exception: the circular eyes of seven figurines of coarse hand-made specimens: 606 to SAC 097/Pl.39, obviously a sub-style); the mouth is either molded or simply incised, the nose tends to have nostrils, quite rare in sg. 2.1, and ears are practically universal. The chin is again either outlined in colour or thickened. The neck is generally better defined than in sg. 2.1. The body shows greater differences with sgs. 2.1 and 2.2, as—starting from SAC 261, SAC 260/Pl.37—it is overall more elongated and with more clearly separate legs. Shoulders are not very prominent (exceptions: SAC 449, SAC 448, 1087/Pl. 40), the lateral outline is fairly straight, slightly tapering (e.g. 580/Pl.39) or becoming wider towards the feet (e.g. 205/Pl.39). The profile varies from fairly flat to moderately convex (cf. 579 with 548/Pl.39), The arms vary: they can be a) very short, extended forward, ending in cup-like hands (1018 to 1402/Pl.37 1); b) short stumps, extended laterally and lacking hands (606 to 1105/Pl. 39, also SAC 468/Pl.38); c) more naturalistic, with hands, but no elbows (586/Pl.38, 798, 1905, 1906/Pl.40) or d) with angular elbows (SAC 261, SAC 260/Pl.37, 778, 2410, P488, P489/Pl. 38, 580, 579/Pl.39, SAC 449, SAC 448, SAC 413, 566/Pl.40); e) there are also some "baroque" forms, like 1070/Pl.38, 1087 to 1298/Pl.40; finally several specimens fall between these forms. The legs also vary: a) short and often conjoined, with feet only indicated by painted toes (e.g. 610/Pl.37) or slightly protruding, with incised toes (e.g. 1402/Pl.37); b) longer, cylindrical, completely separate, without or with very small feet (e.g. 606/Pl.39, 1904/Pl.40); c) more realistic modelled legs, some with ankle-bones, and with well-modelled feet (e.g. 778/Pl.38); d) finally there are variants of these basic forms, like P488/Pl.38, 580/Pl.

1 SAC 200/Pl.37 has no arms, but is included in sg.2.3, because it forms a couple with SAC 201, which has arms.

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39, SAC 449/Pl.40. Genitals: There are 20 1 males, with appliquéd genitalia (often a fairly large penis, but small or absent testes); atypically the male P488/Pl.38 has an incised genital triangle. The 25 2 females have painted, raised and/or incised genital triangles; the actual vulva is mostly shown by an incision; modelled vulva on 1018/Pl. 37, 605/Pl.39, protruding clitoris on 586, P489/Pl.38, 579/Pl.39. Small nipples are visible 3 on 20 females (five females have no nipples), and on eight of the males: note the large, pendulous breasts of 1087/Pl.40. Back: Mostly featureless, except for some elements of the headdress. 778/Pl.38 shows modelling of the waist and buttocks, 1070, 566/Pl.38 have a white line at the neck, and the waist and white feet; 608/Pl.39 shows a net, roughly rendered in white, slung across the back. Note that 1224, 1723/Pl.37 are hunchbacks, with a sizeable hump in the back. Clothing, accessories: As in sgs. 2.1 and 2.2, the headdress—worn by all the specimens—is gender specific. All the males wear a headdress with picos: 4 picos (2 specimen 4), 3 picos (13), 2 picos (4), SAC 449/Pl.40 has an unusual pointed headdress (1 pico!). The females wear a headdress, which evolves from rounded and high (e.g. 1018, 609/Pl.37) to rectangular (e.g. P489/Pl.38, SAC 448/Pl.40). It is most commonly decorated with parallel vertical stripes in different colours, with a variety of fillers within the stripes (15 specimens: e.g. 1723, SAC 260/Pl.37), but we also see circles or dots (566/Pl.38, 2733/Pl.40) or plain (six or seven figurines, e.g. SAC 201/Pl.37, SAC 248/Pl.39); 1298/Pl.40 and possibly 605, 607/Pl.39 wear no headdress. Only SAC 261, SAC 260/Pl.37 and 1070/Pl.38 appear to wear some clothing (a shirt?) covering the upper body; SAC 412, 566/Pl.38 580, 579/Pl.39, 548/Pl.40, wear what looks like textile bands or fajas, either across the waist or vertically on the body. The painted bands across the legs, shown on about one third of the specimens, probably represent body paint or tattoos. Seven specimens still have some of the textile wraps in which they were found. Ear-plugs: are worn by only about 15% of figurines. Circular, they can be very large and placed high on the head (1018/ Pl.37), also protruding at the back (610, 609/Pl.37), small (SAC 413/Pl.40) and perforated (P488, P489/Pl.38, SAC 449, SAC 448, 2273/Pl.40); ears decorated with dots (P488, P489/Pl.38) or parallel lines (e.g. SAC 412/Pl.38, 580, 579/Pl.39, 1905/Pl.40) or simply painted white (e.g. 566/Pl.38) may also represent ear-plugs. Necklaces: Bead necklaces of one, two or several rows are worn by 10 specimens (see Pls. 37, 38); painted bands around the neck are seen on eight figurines (with pendant triangles on SAC 580/Pl.39). Accessories: 608/Pl.39 is shown with a painted net on its back (Fig. 30), fastened in front by a crossed band; the same band also appears at the front of two similar figures (SAC 249, SAC 097/Pl.39), so they may also feature this net on their back? The same figurine now carries a real net, slung across one shoulder and hanging on his hip and another (textile) bag, attached across his Fig. 30 neck on his shoulders in the back. Manufacture: Within this sub-group, there are better made, earlier (?) figurines (mainly on Pl. 37), of which most (ca 12 or 27 %) are—as far as was possible to assert 5—mold-made, though some with hand-made appliquéd elements, such as the arms or the male genitalia; four, possibly more figurines in this series are solid. The great majority of the remaining figurines are hand-made and mostly hollow, many in a much coarser ware. Air-holes vary: of the 26 positions recorded, nine (35%) are at or above the waist (two with additional holes between the legs or at the ears), others include—in various combinations, as many as five!—the ears, the mouth, between the legs, under the feet. The two hunchbacks (1224, 1723/Pl.37), have airholes behind the arms, the head fragment 546/Pl.39 has holes through its three picos, as 1105 and 546/Pl.39 are identified as males because of their characteristic 3-picos headdress. 1224, 1723/Pl.37, 1070/Pl.38, 548/Pl.39 are listed as a female, because of their painted genital triangle and their headdress. 3 They are difficult to see on the SAC photographs. 4 Covered by a textile on 1905/Pl.40. 5 The index cards of the SAC archive invariably say "moldeado", which could also mean modelled. 1 2

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well as others, no doubt. Of the 42 specimens of which the ware is recorded, the most common is a 3-clolour combination (26=62 %), next are 2-colour combinations (7=16.6 %), monochrome (5= 11.9 %) and last a 4-colour combinations (4=9.5 %). A characteristic background colour of pinkybuff (as well as cream, white, buff variants) is marginally more common (53.33%) than terracotta, with red or orange variants (46.66%); these are combined with black, brown, ochre, red, white and variants of these colours. The paint (as far as recorded not a slip) is generally only applied in front. Some specimens, with a very powdery surface, appear to be fired at low temperature or perhaps not fired. DISCUSSION

In this study Huaura Group 2/Standard Huaura Figurines has been one the most difficult groups to classify. Basically, there is often a doubt whether some specimens should not be classified as Chancay – or at least as the Chancay-Huaura sub-group (see below, Chapter 9). Absolute criteria are not easy to establish (a list is attempted below), but there is not doubt in my mind, that before and alongside the dominant Chancay culture, there is this explosion of very localised Huaura-inspired sub-styles. I hope that in due course, with controlled excavations and also with ethno-historic studies of the whole area, a satisfactory chronology—and chorology!—will emerge. Special features The occurrence of male/female couples is an important Huaura innovation and characteristic. The pairs tend to be practically identical, often made of the same mold, with near similar measurements (the female being only marginally smaller) and an identical decor, but with some elements (genitals, headdress picos) added on the male. Couples do occur in the Chancay pottery style, but clearly in a Huaura-derived iconography, style and even ware type (see Chancay-Huaura, Chapter 9), so they may well belong to the—as yet—ill defined Huacho style (see Vallejo 2010). Male/female dualism is a fundamental concept in pre-Columbian Peru, not only in a cosmological context, as for instance in the dualism of the sun and the moon (Opperman 1983: 8ff) or of the Cabrillas, i.e. the constellation of Castor and Pollux (Taylor 1974), but also as an organisational principle (Rostworowski 1978:15ff). However the particularly frequent representation of couples among Huaura figurines can perhaps be linked more specifically with a creation myth indigenous to the Végueta area, north of Huaura. This relates the creation of the first "couple" by the God Pachacamac (Rostworowski 1978:144). It is interesting to note that Pachacamac's role in this myth is a highly negative one, possibly reflecting the relationship between the northern section of the Central Coast and the area south of the Chillón (Rostworowski 1978:145). This antagonism may also be reflected in the lack of contact between the two sections of the Central Coast during the later MH, resulting in very differentiated figurine types and clearly defined distribution areas. Another interpretation for the Huaura male/female pair may be the symbolism of twins. In a different version of the creation myth—originating in the area of the Cordillera de la Viuda, east of the Huaura Valley—Pachacamac and Pachamama give birth to twins, later to become the Sun and the Moon (Rostworowski 1983:43). Arriaga (1968/1621:205, 214-215), relates that the bodies of twins who died in infancy were preserved as sacred, but also that parents of twins had to do penance for having given birth to an "abomination". Twins were also considered to be the sons of the thunder and to be invested with occult powers. 140/ Pl.34-sg.2.1/ is a double-faced specimen, female, with both sides made with the same mold. Such "Janus" figures are rare and limited to the Middle Horizon on the Central Coast (see discussion under Nievería, Chapter 4). A curious feature are protuberances near the outside corners of the eyes 1 (cf. 1399, 551, 437, 1884/ Pls.33, 34-sg. 2.1; 1018/ Pl.37-sg. 2.3). These are not ear-plugs, as they are far from the ear (e.g. 551) or even occur with ear-plugs (e.g. 1018). But they can have a typical 1

Not always visible on the photographs. 134

ear-plug decor (see 542/Pl.36-sg. 2.2). They may be "inspired" by Supe figurines, where the ear-plugs are often placed very near the eyes (see 2014/Pl.23, 868/Pl.24, 2172, 469/Pl. 25). Figurines with two pairs of arms, one pair folded over the chest, the other extended sideways (Huaura sg. 2.2) are confined to the Central Coast styles of Huaura and in particular Chancay and may have a religious significance (see Discussion, Chancay sg.1.2). Hunchbacks (1224,1723/Pl.37-sg, 2.1) first occur in the Middle Formative (see 2299/Pl.4Ancón sg.1.1, Chapter 2); they become relatively numerous amongst Chancay figurines, in particular Chancay Gr.1 1. One of the Huaura hunchbacks (1224), the only sitting Huaura Gr. 2 figurine, may also be a predecessor of the Chancay "witch" (Chancay Group 3, Chapter 9). Several specimens present taxonomic problems: Sub-group 2.1: 2409/Pl.35, 678, 677, 784/Pl.36: These large figures, one from a private collection, the others at the MNAA, do have many Huaura features: headdress with vertical stripes, face-paint with zoning of the eyes and cheeks, a painted genital triangle, painted lines across the legs, as well as clothing, rarer on Huaura figurines. Note that 2409 and 784 have perforations through the headdress, a Chancay feature. The wide, angular shoulders are reminiscent of Huaura Gr. 4 figurines (see Pls. 42). 2409 is said to come from a looted site as yet undisclosed to archaeologists in the Huaura Valley: its crude ware, with a white and brown decor on a brownish grounding, has "recently been described as Chancay-Bicrome". 748, which is said to come from Chincha, a provenance which is highly unlikely, as there is nothing similar in the area, has an all-over design of small symmetrical crosses. All the specimens are hand-made, hollow, with air-holes 2 behind the upper arms and the ware is 3colour, with differences in the base colour. There are similarities with early Chancay-Huaura figures (e.g. P530/Pl.69) and with some early Chancay figures (e.g. 2247, 2248/Pl. 48Chancay sg. 1.1.3), but the latter figures are themselves taxonomic anomalies. What is certain is that these three specimens belong to that general area and that general period, i.e. MH4-LIP 2-3! Sub-group 2.2: 542/Pl.36 has a fairly reliable provenance from Huaura and some Huaura features: the shape of the body, ears with white stripes, a fairly coarse ware, paint applied to the front of the figurine only and disk ear-plugs incongruously placed at the corners of the eyes. The latter feature is quite common in Huaura (see above), though here the decor on the ear-plugs is more typical for Supe and Supe/Huaura hybrids. But 542 also shares some traits with Wari-Pachacamac figurines, especially with 426/Pl.16: head lacking deformation, arched eyebrows, white eyeballs with black pupils, strongly modelled cheeks and mouth area, position of hands on abdomen. The sex is not indicated, whereas Huaura figurines wearing a head-dress with picos mostly show male genitals. The Pachacamac figurine also lacks genitals; it wears a typical early Middle Horizon cap with the four picos placed at right angles, a shape unknown on Huaura figurines, where picos are aligned. Finally the shape and stripy decor of the extended arms, and the shape of the hands with their three fingers are quite unique: Huaura or Chancay figurines with double arms have small concave hands or no hands. The place of this figurine within the Central Coast late MH or early LIP remains problematic, because the related Wari-Pachacamac figurine is itself atypical and its Pachacamac provenance uncertain. However, on balance, the figurine fits best into the Huaura sequence. Links with other groups The numerous traits shared with Huaura Gr. 1, show that Huaura sg. 2.1 is a successor of the earlier group. Huaura sgs. 2.1 and 2.2 are also closely related to early Chancay Gr. 1 figurines, with which they share a number of traits (overall shape, posture, even wares). Huaura sg. 2.3 is related to the Chancay-Huaura sub-style (Chancay sg. 1.5). • One striking feature shared with Huaura 1 by some of the earlier Huaura 2.1 figurines (550 to 1195/Pl.32, 197/Pl.33) and also 1018/Pl.37-sg.2.3 are the stylized female genitals, with a large vulva and clitoris, often shown with the hands resting 1 2

The significance of hunchbacks is discussed in Chancay sg. 1.1, Chapter 9. No information regarding the air-holes of 2409. 135

•

•

•

•

•

• •

•

•

•

on them. But—unlike in Huaura 1—the specimens in 2.1 are clearly human. Gradually—in a temporal sense—the emphasis on the genitals decreases, and the hands move higher up. Common Central Coast late MH/early LIP traits include: tear-lines, nose-to-chin lines, painting of the whole face (usually in a darker red), facial zoning, outlining or thickening of the chin. The stepped facial zoning (1193, 1184, 604/Pls. 32,34-sg. 2.1) is shared with Supe and Huaura 1 figurines. Arms inscribed inside the body outline (e.g. 1182, 655/Pl.32, 551/Pl.33 and others) are also common in Supe. Large disk ear-plugs with the plug piercing the ears (609, 610/ Pl.37-sg. 2.3) occur in Supe. Concave disk earplugs placed at right angles to the head (611/Pl.35sg.2.1, 1018/Pl.37-sg.2.3) are shared by some MH3 Hybrids (see 1506, 1055/ Pl.18Transitional Early-Late MH Gr.1). An important late MH innovation is the painted and/or incised triangle above the genitals (genital triangle). 761 in Huaura Gr.1 has already a painted mons Veneris. In Huaura sg. 2.1 the genital triangle outlines only the pubic area (cf. 1196, 437/Pl.33, 795/Pl.34), but it can also go as high as the waist (cf. 47, 573/Pl.32). The genital triangle is also typical for early Chancay and reappears again in late Chancay. 197/ Pl.33-sg. 2.1 is related to 859 and 1044/Pl. 41-Huaura Gr.3: overall shape, molded hair in the back, very thin molded left arm (this feature is not visible on the photograph). It was included in sg. 2.1, because it belongs to a ceramic variant, red + white and dark red, represented by around ten figurines in this sub-group (1338 to 437/Pl.33). 1521/Pl.32-sg. 2.1 is the only specimen in this group with a bilobation, shown by a very small indentation at the top of the head, a form frequent in classic Chancay. Some figurines in Huaura Gr. 2 (SAC 220/Pl.32, SAC 368/Pl.35-sg. 2.1; 1063, SAC 271/ Pl.36-sg. 2.2; SAC 301, SAC 404, SAC 201/Pl.37-sg. 2.3 represent a somewhat different—Chancay related?—tradition, but they have enough Huaura traits to be included here. The main characteristics are a smaller, semi-circular headdress, mostly plain or with a horizontal border, decorated with circles or a step motif. The arms, when present, can look as if extended forwards. Huaura traits include the more typical Huaura 3-colour ware (SAC 301, SAC 404/Pl.37-2.3), and vertical stripes on (some) female headdresses. These figurines could be related to 1213 (Chancay 1.3.1) with a similar overall appearance and made of an unusual, dark ware. Another Huaura 2.1 figurine, 1345/Pl.32, wears a similar head-dress. As this specimen in turn has North Coast affiliations (see below), it is possible that we see here a Huaura- and Chancay-related sub-style from an area further north, such as Huarmey 1. 1182 and especially 1345/ Pl.32-sg. 2.1, with arms linked by a continuous line, painted across the top of the chest. A similar rendering occurs on late NCTransitional MH/LIP specimens (see Vol. I, Pl.43:1014, 175 . The male 608/ Pl.39-sg.2.3(probably also SAC 249 and SAC 097/ibid.) carries an oblong bundle with a criss-cross design painted across his back (see Fig. 28 above). This is a common feature on Chancay Group 2 figurines, but the bags there are square, painted with a textile pattern and always carried by women. 606/605 and 608/607/Pl.39-sg. 2.3 have an air-hole between the legs, a rare trait, shared with 1059/Pl.29-Supe-related hybrids, Chapter 7) and 1516/Pl.29 (a SupePachacamac hybrid, Chapter 7) and also by NC-MH Gr. 3 "Taitacantin"-style figurines (see Vol. I, Table 21).

There is only one figurine with a provenance from that area! (see 556/Pl.45- Late MH-early LIP Unaffiliated Gr.1).

1

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• Another curious feature is the pointed cap on a male (SAC 449/ Pl.40-sg. 2.3) reminiscent of a Chancay-Huaura Cantor (cf. 1089/Pl.73, Chancay sg. 1.5.2B). Context There are no grave associations for Huaura-style figurines, but judging from Huaura's close relative, Chancay, the figurines must have mainly functioned in a funerary context. However, in the case of male/female couples, the function may transcend the simple explanation of grave attendants or "sacrifice replacement" (see Vol. I: 233). The size of the male genitals seem to emphasize fertility or survival of the lineage. On the other hand the occult powers of twins (see above) may mean that such couples were placed in graves as protection for or even from the deceased. As we can only guess at the meaning of figurines with two sets of arms (see Chancay 1.2, Discussion), we cannot speculate about the function of such specimens. Geographic distribution Huaura 2.1 Certain Fairly reliable Unverifiable Huaura 2.2 Certain Fairly reliable Unverifiable Huaura 2.3 Certain Fairly reliable Unverifiable

Huaura Valley

Chancay Valley

9 16

1

Ancón

2

Chillón V. 1

Others

1 Chincha

1 13 2

There is little solid evidence for the provenance of this group, except for a definite consensus regarding the Huaura valley, with 22 fairly reliable and 18 unverifiable provenances. Of the two fairly reliable provenances for other areas, 604/Pl.34-sg.2.1 from the Chancay Valley couldn't be a more typical early Huaura figurine, whilst the one from Marquez, Chillón Valley (1521/ Pl.32-sg.2.1) is altogether unusual. As Uhle bought it from huaqueros it may well come from elsewhere (see Appendix 1). As far as the two Ancón provenances are concerned, it is astonishing and significant that, except for some of the Supe–Huaura hybrids (see Chapter 7), no such figurines were found in controlled excavations at Ancón. 2181/Pl.36-sg.2.2, donated by a Miss B. Simmonds, is said to come from Huari. It is a typical Central Coast figurine: the name "Huari" was probably misunderstood for "Huara", an occasional misspelling for Huaura. There is not a single gravelot for any of the 119 figurines in Huaura Gr.2! Chronology Huaura Gr.2 is difficult to date. The three sub-groups cover a long time span and certainly overlap, at least partly. The various sub-traditions, some of which have been mentioned above, could be spatial rather than temporal, but are likely to be both! No traits seem to be absolute time markers, so that the order within each sub-group is only tentative. An analysis of the wares could be a starting point. But unlike the Chancay pottery style, where a chronological succession of wares helps to trace other features through time, in Huaura, such points of reference are difficult to establish. Cruzado (2008: 8) has tried to correlate six ware types defined by Usera (1972) on the basis of surface collections (see above) and deemed to belong to the Huaura style proper 1, to chronological phases. But whilst some of these types have descriptive names, such as Huaura rojo y blanco sobre naranja, others, such as Huaura Tricolor or Huaura Policromo Geometrico are really unidentifiable. 1

Some of Usera's 11 types belong to other styles, like for instance his "Negro sobre blanco" which is Chancay. 137

An attempt to correlate the wares as recorded with each figurine in the sample (and as seen on the photographs, though mostly not in colour) with Usera's types, has proved nearly impossible. However, the statistics involved in the attempt, do perhaps shed some light on the overall chronology. It must be emphasized that owing to the conditions in which the material was recorded, the colours given are not standardised. Another weak point in the description of the wares is that it is often impossible to say whether "Terracotta + ....." meant the plain base ware or a terracotta-coloured slip. We have seen that Ichiki (2012) assigns 536/Pl.31/Huaura Gr.1 1 to Usera's Polychrome Figurative —a 4-colour ware—and dates it to MH3 (2012:5ff, fig. 2b). In sg. 2.1 we still find 18 % of figurines with a 4-colour ware, though the basic colour is now terracotta, rather than orange, and specimens are not so well polished as in Gr.1: this gradual disappearance of the surface polish is also highlighted by Vallejo (2010). There is no 4-colour ware in the small sg. 2.2, whilst in sg. 2.3 it is the least represented ware (9.5%). The 3-colour ware, which is the most numerous in all three sub-groups, is impossible to correlate with the types established by Usera—dating from MH2B to LIP 1-3 (see above)— and obviously showing a base colour and two decor colours. These types are: Type 6: Huaura rojo y blanco sobre naranja Type 5: Huaura Tricolor, (both dated to Pachacamac B), Type 4: Huaura blanco y negro sobre rojo (dated to Epigonal), and Type11: Huaura rojo y negro sobre blanco (dated to 3-colour geometric), In sg. 2.1, with 39 3-colour specimens (58.2% of total), 19 (48.7%) have a red/terracotta ground colour, 9 (23%) an orange one, 11 (28.2%) a cream or white one. In sg. 2.2, four out of six specimens (66.6%) have a cream base, one a red base. In sg. 2.3, with 26 3-colour specimens (62% of total), 13 (50%) have a red or terracotta base, 10 (38.5%) have a white or cream base, and one each an orange, pale terracotta or "pinky cream" base (i.e. 3.85% each). As far as the 2-colour ware is concerned, this is not listed amongst Usera's types, but considered by Cruzado (2008) to be part of the Huaura style proper. In this sample, sg. 2.1 has 13 2-colour specimens (19.4% of total), of which four have a red base and four a white, cream or "pink" base, a further two are, perhaps wrongly, listed as black-on-white; sg.2.2 has no 2colour figurines; in sg. 2.3, out of a total of seven 2-colour specimens (16.6 % of total), four have pinky-buff to orange base, three a cream base. There are altogether eight monochrome figurines, two white and a brown/black one in sg.2.1, one terracotta figurine in sg. 2.2 and five cream or white one in sg. 2.3. So it would appear that—apart from the gradual phasing out of the (early) 4-colour ware— there are no significant changes in the frequency of the other wares, nor of the base colour. Note that the number of colours and their combinations may not be that significant: SAC 286/SAC 285, a matching pair in sg. 2.1/Pl.35 are in 4-and 3-colour wares respectively. The scarcity of 2-colour ware came as a surprise. But it is just possible that the numerous 2-colour figurines I have classified as Chancay-Huaura represent the later phases of the Huaura style – or, as Vallejo has suggested, its successor, the Huacho style. The superficial description of the wares does not cover their quality. But it is clear that in sg. 2.3 we see the appearance of a much coarser ware – often with a lighter base colour — and with many hand-made specimens. To what extent this is a temporal or regional development it is impossible to say. The position of the air-holes, often a useful time-marker, is also inconclusive here, because in sub-group 2.3 many figurines either have no air-holes because they are solid, or their location is unrecorded. Nevertheless in the (earlier) sub-group 2.1 over 66% have airholes at the neck, shoulders or behind the upper arms, whilst in the (later) sub-group 2.3, 35% of the recorded air-holes are at the waist, only two behind the upper arms and none at the neck or shoulders. The same changes can be observed in Chancay.

1

See above, Huaura Group 1, Chronology. 138

If we accept—as a point of departure based on the Chancay sequence—that figurines with folded arms (sg. 2.1) are followed by double arms (sg. 2.2) and finally by extended arms (sg. 2.3), the following features are useful for dating—though the correlations are less definite than in Chancay: • The circular eye, inherited from Huaura Gr.1, is gradually replaced by an elliptic eye. • The stylized rectangular or rounded nose (in profile) is replaced by a more naturalistic nose with nostrils, sometimes also with alae. • Folded arms (sg. 2.1) are replaced by extended arms (sgs. 2.2, 2.3), though not as radically as in Chancay, where this is a reliable time-marker. The decor of the arms, especially the circles or broken lines gradually disappear, as do arms joined by a continuous line (1182, 1345, 2194 etc/Pl.32-sg. 2.1), a late MH trait (see CCLate MH1 Gr.1, also North Coast Late MH in Vol.I, Pl.43: 164, 1014) • Horizontal stripes across the legs are common throughout, except on many of the coarser hand-made specimens in sg.2.3. They are also common in early Chancay (except on the plain wares), but disappear in classic Chancay, sometimes reappearing in late Chancay. • The size of the genital triangle tends to become larger (cf. 1196/Pl.33, 795/Pl.34 in sg. 2.1 with 2181/Pl.36 in sg. 2.2 or 1070, 566, P489/Pl.38 in sg. 2.3), but—unlike in Chancay—this is not a definite criterion (f.i. 2409/Pl.35 in sg. 2.1 has a large genital triangle, 579/Pl.39 in sg. 2.3 a small one). • In sg. 2.3 the typical Huaura necklace (single row of large beads) disappears (exception 1018/Pl.37) or is replaced by several rows of smaller beads, just like in early Chancay (cf Chancay 1075, 675, etc./Pl.46-sg.1.1.1 with 1798. 1254/Pl.54sg.1.3.3). Isolated later features have parallels in classic or even in late Chancay: • Elbows forming a sharp angle: cf. 778, 2410, P488, P489, 566/Pl. 38, SAC 448, SAC 449/Pl.40 in sg. 2.3 with Chancay sg. 1.4.2/Pls.64-67. • Ankle-bones and/or large feet with spread-out toes or modelled toenails (cf. P44, 778, 2410, 566, 586/Pl.38, SAC 448/SAC 449/Pl.39 in sg. 2.3 with Chancay sgs. 1.4.2 and 1.4.3/Pls. 64-69.) • A "bridge" linking the feet (e.g. P489/Pl.38-sg. 2.3) is a common CC-LH feature (LH Group 1.1/Pls. 111, 112). • Note that the face-paint does not follow the same development as in Chancay: some obviously late figurines still have the eyes-and-cheek zoning (e.g. SAC 448/SAC 449/Pl.40). One feature, which I had hoped would be a reliable time marker, is the male head-dress, with variables such as the number, shape, spacing and orientation of the picos, as well as the size and decor of the cap. Unfortunately the results were quite contradictory, possibly because the dating itself is incorrect. Huaura Group 2 is a very long-lived group: Sub-group 2.1, with folded arms Of the three sub-groups, 2.1 is the largest (69 figurines = 58% of total) and the most varied, with a core of standard specimens, the remaining figurines being predecessors, successors or more distant relations. The typical Huaura female is embodied in 47/Pl.32, with 1184/Pl.34 as the strongest male candidate. However a great number of different groupings are discernible. Features generally limited to this group include folded arms, stepped cheek zoning, double painted nose-to-chin lines, body-paint on the arms (outline, broken-lines-anddots). Preponderance of features such as circular eyes and necklaces of large, single beads.

139

Sg. 2.1 appears to start in the late Middle Horizon, as we can see from traits shared with Huaura 1, with Supe, with MH hybrids and with some late MH North Coast figurines. This includes specimens like 550 to 1226/Pl.32, with their hands on the genitals, and the couple 1813-P484/Pl.35, reminiscent of Huaura 1. Figurines belonging to the standard core of the group, e.g. 1193/Pl.32 to 1803/Pl.33 and 657 to 1173/Pl.34 which just predate or are contemporary with the earliest Chancay (MH4-LIP 1-2, see Chancay chronology), when figurines of the two styles are often difficult to tell apart (e.g. 1803/Pl.33 has a typical Chancay profile). This sequence is interrupted by a sub-style (P479 to 437/Pl.33), which might be slightly earlier, as there are many similar figurines in the Supe group. Difficult to date are four one-offs 2409, 678, 677, 784, (discussed above under "Special features"). Finally some sg. 2.1 figurines might well be later: SAC 467/Pl.35—in spite of folded arms— has facial traits closely related to classic Chancay and may well date to LIP 5 or 6. The location of the air-holes—in the early stages often (but by no means always!) at the neck or shoulders—later mainly behind the upper arms, as in early Chancay, tallies with the suggested overall dating : MH3-LIP 4/5? Sub-group 2.2, with two sets of arms. Basically similar to 2.1. but with two sets of arms, this very small sub-group (6 figurines =5% of total) is undoubtedly contemporaneous with similar figurines in the Chancay sequence, which, on the basis of some grave-associations etc., are mostly dated to Late Ancon I, i.e. LIP 1-2 (see Chapter 9). Note that the dating of 542/Pl.36, based on similarities with WariPachacamac, could be as early as MH2B, though this seems unlikely. Sub-group 2.3, with extended arms. This sub-group (44 figurines =3 7% of total) includes two "sub-divisions": one with figurines of the same traditions as sgs. 2.1 and 2.2, the other of hand-made figurines, which in their coarseness, surface finish and weight point to different marginal tradition(s)?. In the "first" tradition (Pls. 37, 38) the following groupings are discernible: • 610 and 609/Pl.37 clearly belong to the same style or tradition as, say 1184 or 1180/Pl.34; • SAC 301, SAC 404, SAC 200 1, SAC 201, 1404, 1402/Pl.37 belong to a somewhat different tradition, already represented by 1400/Pl.35-sg. 2.1 or SAC 271/Pl.36-sg.2.2; • SAC 468 to P489/Pl.38: figurines showing a Chancay influence, with specimens like SAC 261, SAC 260/Pl.37, SAC 412, 1070/Pl. 38 pointing to the same tradition, though basically one-offs. In the second "tradition" (Pls.39, 40), figures are somewhat larger, with a smaller head and often longer legs. The female headdress is lower, stripes are rarer, some females may not be wearing a headdress at all; the decor on arms and transversal lines on legs have all but disappeared. No necklace is worn. Note the following groupings: • 606 to SAC 097/Pl.39: with their rounded heads, two-picos male headdress, circular eyes, load painted on the back (607), unusual air-holes definitely represent a "limited edition", difficult to place or to date! • The same can be said for 798, 1905/Pl.40: both males with their unique four-picos headdress, "composite" eyes (i.e. eye-balls modelled on top of the lids); from the description, it would appear that 798 is in a slightly different ware and it is not clear whether all three are hand- or mold-made, hollow or solid: they have no air-holes! Again a local "limited edition". • Finally, we have a number of one-offs, like the male SAC 449/Pl.40, with an unusual pointed headdress and several very peculiar looking specimens! To sum up: Sg. 2.3 lacks a number of early traits (except the hunchback 1224, SAC 301, SAC 200/Pl. 37 is a male with folded arms, but which obviously forms a couple (size, ware, decor) with SAC 201, a female with extended arms.

1

140

SAC 404/Pl.37, possibly also 1070/Pl.38, with their epigonal-derived ware) and overall probably starts at the same time as the double- and extended arms figurines appear in Chancay, somewhere around LIP 2-3. The sequence may well continue into the middle part of the LIP (SAC 471 to P489/Pl.38, SAC 448, SAC 449, 1087-1298/Pl.40). This dating is based on markers listed above, such as the eyes, ranging from circular (raised/incised 606/605/PL.39) to elliptic composite (798, 1905, 1904/Pl.40), angular elbows, the shape of the feet, ankle-bones; note also the appearance of air-holes under the armpits or at waist level. But this dating may well be too early: 579/Pl.39, has several early features, such as tab ears with parallel lines, a small genital triangle, but also later features like a square, plain headdress, airholes just above the waist and a profile very similar to classic Chancay, which dates to LIP 5 and later. Finally 1298/Pl. 40, with its flat crown and lack of head-dress is reminiscent of Late Horizon figurines. Altogether the dating of this sub-group is very tentative! (LIP 2-5?) HUAURA GROUP 3: FIGURINES WITH ELONGATED HEAD Table 17 Plate 41 Sample: 12 figurines (examined 10) Measurements Maximum Minimum Height (12) 30.8 cm 10.2 cm Width (11) 12.2 cm 4.1 cm Thickness (11 1) 11.0 cm 4.0 cm Weight (7) Over 1000 gr. 100 gr.

Median 14.0 cm 7.0 cm 5.9 cm 290 gr.

GROUP CHARACTERISTICS

Fairly diverse, middle-sized 2 figurines, with an elongated head, presumably showing the cranial deformación por llautu; less elongated on 2201, 877, SAC 433. In profile the back of the head is generally flattened (slightly less on 851, 859) The face is uncommonly long, with minimal modelling, except on 851 and 1925 around the mouth; some face-paint, such as eyeand cheek zoning (851, 1285), triangular markings under the eyes (352), molded tear-lines on 859. Eye-brows coincide with the edge of the head-dress or are molded below (851, SAC 443, 877), very prominent on SAC 433. Eyes: Circular, with raised lids and small pupils, painted or not; 851, SAC 443, SAC 433 have elliptic eyes. Nose: varies from small rounded (e.g.1925, 352), to normal (851) or long (1044); only 851 has nostrils and alae. Mouth: non-descript, mostly molded lips, 851 has an appliquéd mouth in the shape of a flower. Ears: narrow tabs, painted with vertical stripes on 851, perforated on SAC 443, no ears on 859-2407. Chin: rounded (pointed on 851); always thickened and/or outlined in paint; no chin on 1044. Neck: shown in front, 1925 and 1186 have a horizontal molded ridge at the back, no neck on 859, 1044. The body is mostly also elongated and rather narrow, with a straight lateral outline, only slightly widening towards the base on 1925, 859. Straight or slightly convex in profile; 851, 859 are sitting. Arms vary: very thin, extended downwards, towards the genitals (352), to the umbilicus or genitals? (1925, painted with circles), folded at the waist (SAC 443, 859, 2407), upwards on the chest (1285, 1186, 2201) or to the head (877, left arm broken); 1044 has two sets of thin molded arms, folded upwards on the chest, SAC 433 has short extended arms (right arm broken); hands often have three fingers (1186, 859, 1044, long, molded on 352), or no fingers. Legs: very short, conjoined (1925, 352, 1285, 1186, 2201); longer, completely separate, slightly widening at the base to indicate feet (1044, 2407, 877, SAC 433); projecting feet on SAC 443; the sitting 851, 859 have thin, folded legs: decorated with circles, no feet on 851; ending in three molded toes on 859. Fig. 31 Genitals: Eight figurines are female: 352 has a molded oval vulva, showing the clitoris; 1285, 1186, 877, 2407, 2201, 859 have a small, raised genital triangle. 1925 is 1 2

Does not include the double-faced 2201. Only 851 is 30 cm high, none of the remaining are more than 16.5 cm. 141

probably also female, with a vulva (or umbilicus?) decorated with petals and with three crosses painted below (Fig. 31). A painted, rounded line may indicate a genital triangle on 851; genitals hidden by clothing (SAC 443); SAC 433 is recorded as female; no genitals on 1044. Breasts: Tiny nipples on 1925, SAC 443, SAC 433, white circles on 2407. Umbilicus: the painted feature on 1925/Pl.41 (Fig. 31) may represent an umbilicus or genitals. Back: Plain (851); painted vertical lines and horizontal molded ridge at neck (1925), molded ridge only (1186); headdress and molded parallel features (352), plain headdress ending in a horizontally placed "bundle" (1285), molded parallel ridges (hair?), ending in a similar "bundle" (859, 2407, 877,); molded headdress decor, as in front (1044); 2201 is double-faced. Clothing, accessories: Headdress: simple, conical shape, more or less tall and/or pointed; with molded edge over forehead (SAC 443, 352, 1285, 1186, 859); 2407, 877 wear a tumpline; mostly decorated with painted horizontal lines (vertical lines on 352, 1186), molded diagonal lines 859, horizontal ridges and dots (1044). Plain headdress (2407, 2201, 877). Clothing: 851 wears a full length tunic, decorated with a central panel (step decor) and a large bird? surrounded by small filler elements ("bird-foot" motif?) painted on one side; SAC 445 also wears a tunic, with traces of horizontal stepped motifs and a bird or composite cross (not clear); clothing (or body-paint?) on 1925; collar of pendants triangles (352); molded belt (859, 2201).Necklace: molded band with two rows of painted beads (851), one row (1925); large molded beads (352, 1285, 2201). Manufacture: Mold-made, hollow figurines, with air-holes at the neck (3), behind the upper arms (3), above the waist (2), at the temples (1), on the upper back (1), unrecorded (1). The most common ware is 3-colour epigonal-derived, with an orange or terracotta grounding and decor in black, white (6); red and white (2). One specimen is in a cream-based ware with black, white, red decor, one plain buff, one grey-black, though not reduced-fired (dirty?), SAC 433 is said to be monochrome. DISCUSSION

Special features Apart from two figurines among the anthropomorphic "cats" (Chapter 7, sg. 3.1), Huaura 3 is the first Central Coast group to feature the elongated cranial deformation por llautu. A figure with a similar deformation appears on a MH4 vessel, excavated in Ancón. (Ravines 1981: 123, no. 7352). This is a deformation typical for the Sierra, which becomes common in one group of Chancay figurines (see Chapter : Chancay Group 2, Discussion). About half of the specimens appear to be carrying a bundle on their back, which is also a typical feature amongst Chancay Gr. 2 figurines. • The appliquéd mouth in the shape of a flower (851) is unique; as is the decor of the headdress at the back of 352. • The top of the headdress (in the back) of 352, in the shape of an open pod is unique • The double-faced figure (2201) is made by joining two frontal elements, made from the same mold, here slightly displaced. Another such Janus figure is 140/Pl.34Huaura sg.2.1. These figures are rare and seem limited to the Middle Horizon on the Central Coast (see details under Nievería, Chapter 4). Links with other groups Huaura Gr. 3 has many Huaura Gr. 1 features: modelling around the mouth (cf. 851, 1925 with 536); thin, folded legs (cf. 851 with 536); elements of the decor, like the step decor, stylized birds (cf. 851, SAC 443 with 761, 660); hands placed on the genitals, shape of the genitals (cf. 352 with several Huaura Gr. 1 figurines); collar of pendant triangles (cf. 352 with SAC 399). The overall aspect, especially of 1285, 1186 is reminiscent of Huaura sg. 2.1; note also the necklace of large single beads on several specimens. Amongst Huaura Gr. 4 figurines 2038/Pl.43 also has an elongated head, with a molded edge to the headdress.

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The press-molded decor, especially the hair at the back, has parallels in Late MH Gr.1Supe (e.g., Pl.27), as well as in the Late MH-Early LIP Unaffiliated Figurines (Pl.44). One arm lifted to the head (877)—here the broken left arm appears to have been folded towards the waist—occur sporadically in other cultures, especially the contemporary early Ychsma Gr. 1: P569, 1584, 1427, 513/Pl.102; see also Vol. I, Pl.63: 327, 1610/NC-Chimu Gr.5; Vol.III, Pl.45: P215, 46/SC-LIP type A Grs.3, 4.1. The cranial deformation is a link with Chancay Gr.2. Context: Three figurines (859, 1044, 877) come from graves in Ancón. For 859 from T. 718, we only recorded a non-descript cooking vessel stored at the MNCP. But the Inventario lists no fewer than 28 objects associated with 877 (P. 6490) in T. 463, including two other ceramic and one wooden figurine. One of the ceramic figurines (P. 6485) looks very much like 878 in Huaura Gr.4; note also how close the two original specimen numbers are. The grave was that of an adult female and an infant (see Appendix 3). I was unable to find the grave number for 1044 (P.5993). Geographic distribution: Three certain and one unverifiable provenances are from Ancón, another unverifiable from Chancay. The site attribution for Pachacamac should be "fairly reliable" 1, but since no similar figurine comes from a documented context at that site, it is unlikely. Chronology 877 a border-line case between Huaura and early Chancay, is part of a large gravelot (Ancón 1-T.463), containing 16 vessels, many of them miniatures. Two tumblers (P.6481, P.6492) are diagnostic in shape, though the designs (in black and red) are not clear. They can be dated to MH4 by analogy with similar vessels from Ancón 1: (Ravines 1981: p. 116: no. 7316b; p.126: no. 7375; p.135: nos. 9242, 9247, all dated to his Epoca C, corresponding to MH4; Kaulicke 1997: Fig.55-B4, Fig. 56-C3). A red ware vessel (P.6472) said to have decoración estampada estilo Pativilca 2 must be press-molded and date to MH4; others, like P.6474 with a cream slip, already resemble early Chancay forms and could date to LIP 1-2. Note also an associated figurine (P.6483) with air-holes at the waist, more common during the LIP; one other associated figurine strongly resembles 878/Pl.42-Huaura Gr.4, though the measurements given in the Inventario do not tally (H: 20 cm. versus 13.2 cm). The press-molded decor of 1044—with its raised blobs, enclosed by straight (or curved) lines—is also typical of MH4 (Ravines 1981: p.137: no. 9595, p. 151: no. 9967; Kaulicke 1997: Fig.56-D1, Fig. 57-B2,3). As far as the ware is concerned, 851, 1925 (and SAC 443, not examined) best correspond to Sawyer's (1975:123) description of the Huaura ceramic style. The predominance of air-holes at the neck and behind the upper arms also argue for a date between MH3/4 and LIP 1/2. HUAURA GROUP 4: FLAT, SOLID FIGURINES (“SLABS”) Table 18 Plates: 42, 43 Sample: 25 figurines + 4 atypical + 2 associated (examined 20) Measurements Maximum Minimum Median Height (24) 33.0 cm 8.0 cm 16.2 cm Width (24) 24.8 cm 5.4 cm 10.0 cm Thickness (17) 6.4 cm 2.0 cm 3.4 cm Weight (10) over 1000 gr. 50 gr. 270 gr.

In spite of generally fairly reliable ratings in the Gretzer/van den Zypen collection, most of the Pachacamac provenances appear unlikely (see Appendix 2). 2 Not visible on the drawing. 1

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GROUP CHARACTERISTICS

Highly stylized, relatively large figurines (over 30% measure more than 20.0 cm in height), with an extremely flat body in profile 1. The head is large: it can be trapezoidal (e.g. 2047, 1336/Pl.42) or rectangular in shape (e.g. 569, 2272,765/Pl.43); the crown of the female figurines is generally straight or slightly rounded (exception:162, 878 showing a bilobation), whilst males wear a 3-picos headdress (e.g. SAC 252/Pl.43); the profile is totally flat, occasionally even concave! Face: wide, with a low (or absent!) forehead; no modelling; facepaint is always present (exception: 691, 162/Pl.42): mainly zoning of the eyes and/or cheeks, often with a contrasting diagonal outline (e.g. 2047, P491, stepped on 1336/Pl.42); only three specimens (P490, 2047, P491/Pl.42) have short, double tear-marks. Eyebrows are not shown, eyes are circular, but in different renderings: most commonly painted, with light eyelids and dark pupils (e.g. C143, P490, P491/Pl.42), or with molded eye-lids (e.g. 692, 878, 1191/Pl.42, P493, P494/Pl.43), appliquéd (e.g. 1846/Pl.42), punctated or incised (e.g. 1206, 691/Pl.42), raised (e.g. 162/Pl.42). The nose: often very large, "rectangular" (e.g. 1206/Pl.42) or rounded (e.g. 569/Pl.43), hooked (e.g. 162/Pl.42, 2272/Pl.43), pointed (e.g. 765/Pl.43); several specimens have a painted line along or across the bridge of the nose (e.g. 2047, P491, P492/Pl.42); nostrils only on 765, no alae. The mouth: painted (e.g. 692, C143, P490/Pl.42) incised (e.g. 691/Pl.42, P493, P494/Pl.43), or modelled (e.g. 878, 1191/Pl.42) and painted (e.g. SAC 252); shapes vary: rectangular (e.g. 692/Pl.42), with teeth (P490, 1336, C143/Pl.42), straight (e.g. P493/Pl.43); no mouth on P491, P492, 162/Pl.42, 2272/Pl.43; painted dots around the mouth on SAC 252/253, SAC 250, 765, 2311/Pl.43. Ears: semicircular tabs, only shown on four specimens: punctated (878/Pl.42), with painted lines (2272/Pl.43), plain (569, 765/Pl.43). Only 691 and 162/Pl.42 have a chin, jutting. The neck is not modelled as such (except on 1846, 1206, 691/Pl.42), but indicated by the wide shoulders or by a painted line (e.g. 2272/Pl.43) or a necklace (e.g. P490/Pl.42). Body: Over 50% have wide angular shoulders, the widest point of these figurines; note the projections on the left and right shoulders of SAC 252 and SAC 253 respectively; the straight sides are either vertical or taper towards the feet. The characteristic flat profile is mostly straight, but can be slightly concave (e.g. 878/Pl.42), or leaning forwards (2047/Pl.42, 765/Pl.43) or backwards (1206/Pl.42). Arms: Eight figurines have no arms, thirteen have folded arms, four have extended arms. The folded arms can be: painted (e.g. C143, 2310, P491/P492/Pl.42), with hands showing three or four fingers; appliquéd, folded upwards on the chest (e.g. 162, 878, 1191, SAC 252/SAC 253) or at the waist (e.g. 569, SAC 250/SAC 251, with no hands); on 2272/Pl.43 the lower arms are extended forward, the hands have short incised fingers. Extended arms: short lateral protuberances, (broken? on P493/P494) or longer (765, 2311/Pl.43) the former with circular, concave hands and incised fingers. P491/P492/Pl.42, SAC 250, 2272/Pl.43 show painted dots or circles on their arms. Legs: Completely separated (by an exceptionally wide crotch on 1336, 1206, P491, P492/Pl.42); varying lengths, but mostly short, lacking modelling; horizontal painted lines on 569, 2272, 765, 2311/Pl.43. Feet vary greatly in size: large, some with painted or incised toes, protruding at the front (e.g. 692, 2047, C143, 1191, 569 etc), also protruding at the back (2047/Pl.42); some feet are much smaller, rounded upwards at the back (1336, 1846, 553/Pl.42). Several specimens have no feet (e.g. 691, 878/Pl.42, P493, P494/Pl.43, etc). Few, if any, can stand unaided. Genitals: 14 females (with incised, raised or painted genital triangle and/or incised vulva) and six males with appliquéd genitals (P491, 162/Pl.42 without testes); four couples. Six figurines have no genitals. Note the "t"s or crosses painted inside the genital triangle of P492/Pl.42. Breasts: Nipples are only shown on 569, SAC 253, 765/Pl.43, all females. Umbilicus: Only shown on 765/Pl.43. Back: Generally flat, featureless. On 162/Pl.42 painted horizontal parallel lines with inscribed lozenges. Clothing and accessories Headdress: Unusually 11 figurines have no visible head-dress. The remaining females wear a The measurements of the thickness could be misleading because—on specimens which were not examined—they may or may not include projections such as the nose and/or the feet. 1

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headdress of medium height, decorated with parallel vertical stripes (diagonal on 2310/Pl.42, circles with central dots on 2272/Pl.43. The males all wear a 3-picos headdress, with varying decor. 691/Pl.42 (sex not indicated) has a plain appliquéd strip on the forehead. Body-paint: P490/Pl.42 has an unusual overall decor of leaf-shaped designs with rows of filler dots; 1846, 1206, C143/Pl.42 are painted with dots, 1336/Pl.42 with a "bird-foot" design 1, with broad lines marking the waist and/or shoulders; 553/Pl.42 has two broad lines across the body. Clothing: may be worn by some specimens: 692/Pl.42 in the form of a large rectangular panel filled with parallel vertical lines (two plain lines alternating with lines of semi-circles with central dots), 2047/Pl.42 with two plain panels, surrounded by "composite cross" designs, 2272/Pl.43 may be wearing an embroidered shirt and textile loin-cloth. Necklace: P490/Pl.42 wears a painted necklace of square white beads with central dots, 162 and 1191/Pl.42 a row of large appliquéd beads (only one remaining on 162); 1846, C143, 2310/Pl.42, 2272, 2311/Pl.43 have a line or lines painted around the neck, 1206/Pl.42 white dots. Manufacture: All the figurines are hand-made and solid. Six figurines have perforations (not air-holes) through the chest, one (1206/Pl.42) through the waist, from side to side. Various wares are represented: over 60% are in a 3-colour, red- or orange-based, epigonal-derived ware, a similar 4-colour ware represents ca 20%; only four figurines are bicolour (in different combinations), one is monochrome. The surface finish varies from highly polished to very rough, mat. Atypical: 2260, 2261 are definitely Huaura-related and share the flat profile and the lack of arms of this group. But differences outnumber similarities: rounded shape of the head and body—without neck or shoulders—elliptic eyes, large "smiling" mouth, unusual face with the eye-brows and chin forming a raised oval outline. The face- and body-decor (the latter with painted vertical "panels", perhaps indicating textiles) are also totally unique. There are no arms, the totally separate bulky legs terminate in large feet with incised toes, protruding at the front and back. Although they represent a couple, with male and female genitals, quite exceptionally the female 2261 wears an unusual variant of a 3-picos head-dress, like her male counterpart! 2038: Similar to the early specimens above, with angular shoulders, absence of arms, perforations through the chest, body-paint of dots and horizontal lines across the shoulders and above the genital triangle. Atypical: elongated head (as in Huaura Gr. 3) and a somewhat thicker profile, though the specimen is recorded as solid. The ware is of the 3-colour type, the surface fairly polished. 137: Is the only specimen in this group which appears to be hollow, with a somewhat less flat profile, but it shares many features of Gr. 4, especially the body tapering from very wide shoulders to the separate legs, as well as the painted decor of parallel panels across the body. The head is unusual, with two high perforated lobes, decorated in typical Huaura style (vertical stripes with circles, alternating with plain stripes); also unusual are the elongated molded eye-brows, outlined in black, the large modelled oval eyes, the large nose with punctated nostrils, the incised mouth outlined in white, the large flap-ears (right ear broken); the overall face-paint shows the typical diagonal outline (right side only). There are no arms, but unusual traces of damage on the corners of both shoulders, may indicate that there were originally appliquéd arms?; the short cylindrical legs are decorated with horizontal stripes and have small feet, protruding all round. No genitals, breasts, umbilicus. White line around the neck. The figurine appears hand-made, but hollow, with air-holes at the waist; the ware is 3colour. It is said to come from Huacho. But note that this specimen also resembles Ychsma 1 figurines, f.i. the atypical 424/Pl.102, with its two large perforated lobes (see Chapter 10). 557: This figurine is closely related to some Huaura 4 specimens: Flat, solid, hand-made body with perforations at the shoulders, lack of arms, short separate legs, incised genital triangle; 1

not visible on illustration 145

the bilobation also has a parallel (878/Pl.42), but not the pointed protruding ears or the exceptionally large circular eyes: these features give it a cat-like appearance. The ware, reddish-brown on cream, could be a Chancay variant; with a fairly reliable provenance from Lauri, Chancay V., this specimen could be related to Early Chancay or to Chancay sg.6.1b? Associated 2103: extremely flat and highly stylized; rectangular head with incised headband ("broken line" motif, the triangles painted red); eyebrows and mouth rendered by deep incisions, small circular eyes, complex incised and painted facial decor, with two triangular appendages below the mouth, but with the typical diagonal outline. Body narrower than the head, no arms, long legs divided by an exceptionally wide, straight crotch, modelled knees, no feet; naturalistic modelling of the vulva. The hand-made, solid specimen appears to be slipped in a speckled brown colour, with red and black resinous, post-fired (?) paint. 2319: This unique figurine shares the shape of the Huaura "slabs", including the perforations through the shoulders of some of them; the large circular ear-plugs and the necklace of large molded beads are also typical for Huaura (see f.i. 610, Fig. 32 609/Pl.37). But the press-molded decor, with motifs such as steps and others, repeated in this way or shown inside checkerboard squares (see Fig. 32, back of figurine) are totally different from Pativilca-style press-molding and unique on CC figurines or even vessels. Note that a similar decor occurs on an Ica gold tumbler of LIP 6 (Menzel 1977: fig.31A). The beaky nose, short, nearly vertical nose-to-chin lines, combined with the tiny mouth are also very common on South Coast Type B figurines of the LIP and LH (see Vol. III, Pls. 49-51) as are the folded arms with three fingers, though these are also common in early Huaura or Chancay; the head-dress with its straight crown and decorative border is more typical for Chancay than the South Coast and certainly not for Huaura. The hand-made, solid specimen appears to have an unusual dark orange slip. Although the figurine is part of an important private collection in Lima, it could be a fake or come from the South Coast? DISCUSSION

The group lacks cohesion and although this can be partly explained by changes through time, it is not certain that all the figurines definitely belong to the Huaura style. Specimens like 162 and 878/Pl.42—the latter possibly from Ancón 1-T.463, associated with 877/Huaura Gr.3—could belong to a local Ancón style. But because of the unusual flatness of all the specimens and their many Huaura-like features, and in order to avoid excessive fragmentation, such figurines have been included here. Links with other groups Although the figurines of this group share many aspects of the other three Huaura groups, we might be dealing here with a different concept or personage, perhaps the one also depicted in late MH Group 3 ("Cats"). Over a period, the original significance of this personage (?) may have been lost, hence the less stylized, more naturalistic later specimens in the group. The following traits are shared with other groups: Earlier features: • The pointed shoulders and absence of arms, the large central panel on 692, have parallels in late Lima Nascoïd figurines (see Chapter 4) and late Nasca Stelae (see Vol. III, Pls. 23-26). • Feet sloping upwards at the back (1336, 1846, 553) are an early MH feature, both on the CC (see above Early MH Gr. 1, Pls.14, 15), and in the South Central Highlands (see Vol. III, Pl. 71). Perforations below the shoulders also occur in CC-Early MH Group 1 (see above Pl. 14).

146

• Parallel lines painted in the back (162/Pl.42) are unusual on the Central Coast, but are a recurrent MH feature 1, first occurring in late Nasca, in the South Central Highlands, as well as on the North Coast (early MH Huari Norteño B figurines, see Vol. I, Pl. 38), etc. 162 also has raised eyes very similar to those of a face-neck jar from Ancón 1, grave 539 (Ravines 1981:121, no.7333), dated to the late MH. • A very wide, straight crotch, resulting in an unusually large gap between the legs (1206, P491/P492/Pl.42, the "associated" 2103/Pl.43) also occurs on 1219/Pl.18= in Transitional early-late MH Group 1. Later features: • Traits shared with Late MH Group 3 ("Cats"): Overall shape with wide pointed shoulders; perforations through chest (see Pl. 30). • Huaura features (especially Huaura 1 and specimens in Huaura 2.3): Facial zoning, often outlined with a contrasting line or overall darker painting of the face, tearlines, circular eyes, line along the bridge of the nose, circles or dots on the arms, small genital triangle, male/female pairs, female headdress with vertical stripes, 3picos male head-dress; epigonal-derived ware 4- and 3-colour ware. • Traits shared with late MH/early LIP Ychsma Gr.1 figurines, from the Rimac and Lurín valleys, is the overall shape and proportions of the body, as well as the absence of arms on some specimens (see Pls. 101, 102). • Traits shared with early Chancay: Body decorated with small overall designs, such as "composite cross" (2047) and "bird-foot" (1336). The associated 2103 has a totally different type of ware and decor, but shares many of the above characteristics. In spite of its singularity, I am convinced that this figurine is genuine. Its owner sees it as a Paracas specimen, probably because of the resinous (?) red and black paint post-fired paint, but its shape and many traits link it to Huaura. As for the other associated figurine (2319), I have doubts about its authenticity, but decided to include it nevertheless. Context No data, except possibly for 878 (P. 6485) which possibly comes from Ancón 1-T.463 (see above Huaura Group 3, Context and Gravelots/Appendix 3. Geographic Distribution Apart from the possible provenance of 878 from a tomb at Ancón, there are only three fairly reliable provenances, one for the Huaura and two for the Chancay Valleys. The Lambayeque provenance is probably incorrect (see Appendix 1). Chronology 692/Pl.42 is included by Ichiki (2012: Fig.2a) into the Huaura Polychromo Figurativo, as identified by Usera 1972, and dating to Pachacamac B, i.e. MH2B (Cruzado 2008:8). There are no gravelots to help date this group, except possibly for 878. This figurine may actually be P.6485 from Ancón 1, T.463 2, a grave which dates to MH4-LIP 1-2: the sketch and description tally more or less, except for the absence of one ear, but the measurements are given as 20 cm x 9 cm, instead of 13.2 cm x 8.4 cm. Another similar bilobed figurine P.5693 P.5692 P. 5694 P.5691 with arms folded upwards (but Fig, 33: Ancón 1, T.407 (Inventario, Vol. VI, p. 82) sitting, with lateral perforations, possibly hollow), from Ancón 1-T. 1 2

For a discussion of this feature see Vol. III, p.168. See Appendix.3, Gravelot Ancón 1-T.463, and Chronology for 877 in Huaura Gr. 3 above. 147

407 (Fig. 33) is associated with a late MH tumbler (P.5692), a bowl decorated with black and red "composite crosses" on a cream background (P.5694), similar to Strong 1925:Pl.43.l, and a large red-ware jar with a monkey figure at the neck (P.5691), the latter both dating to LIP 13. Bilobed figurines, though somewhat different, become more numerous in early Chancay. In the absence of precise data it is the stylistic traits shared with late Middle Horizon groups and with early Huaura and Chancay (see above), as well as the similarities of wares (for instance between 692 and 761/Huaura 1) and designs, which date part of this group (692 to 162) to the end of the Middle Horizon. Similarities with late Lima and CC-Early MH Group 1 probably show a certain archaising aspect of this group, rather than a much earlier date. Gradual changes: overall shape, addition of appliquéd, then extended arms, lead into the early phases of the LIP (1-3); 765 could be even later (LIP 4, 5?). THE HUAURA FIGURINES : SYNOPSIS

The Huaura figurines are a heterogeneous assemblage, which present many classificatory problems. There is a certain iconographic cohesion showing mostly medium-sized specimens, both male and female, often occurring in male/female couples and wearing characteristic sexspecific headgear. Stylistically however we can distinguish between various strands, which may be regional as well as chronological. Whilst the appearance of the figurines undoubtedly dates them to the end of the Middle Horizon, with mold-made figurines produced in high quality epigonal-related wares, the subsequent stages are less easy to date. Early on we also see figurines which are hand-made, in a much more rustic ware, which—although also epigonal-derived in the variety of colours used—has an unpolished surface and is often fired at low temperatures. This ware becomes typical in the subsequent phase (or phases) and may well survive till the end of the LIP, without important iconographic changes to indicate a time depth. Added to this possible longevity there are two other phenomenons which blur the chronological issue: one is the influence of a local (Ancón?) sub-style, the other is the emergence of the Chancay-Huaura variant, transposing Huaura iconography into Chancay ware (see Chapter 9), a variant which appears to co-exist both with the classic Chancay style and, probably, with late survivors of the typical Huaura pottery. This variant may be part of the Huacho style, a successor of the Huaura style in the Huaura valley, suggested by Vallejo (2010). What we urgently need are controlled assemblages from the Huaura valley (and areas to the North?) and a much better taxonomy for both the Huaura and Chancay pottery style or styles, into which to fit the relevant figurines. LATE MH AND EARLY LIP UNAFFILIATED FIGURINES FROM THE NORTE CHICO As already mentioned, the Huaura figurines present difficult classificatory problems. We know that there is a Huaura ceramic style—though hitherto ill-defined—and we can assign many figurines clearly belonging to that style, on the strength a number of shared characteristics. The Huaura style is definitely different from the Chancay ceramic style, which also has its beginnings around the same time or slightly later. However, the tremendous variety of the Huaura figurines leads one to conclude that, at the end of the MH and the beginning of the LIP, there are many cultural, stylistic, possibly ethnic and political forces at play on the Central Coast, in the area north of the Chillón valley. One impression is that Ancón, with its large and important necropolis, may have developed its own sub-style, amalgamating earlier elements from Supe/Pativilca with later Huaura and/or more local Huaura features. Arguably the figurines classified as Supe-Huaura hybrids (see above Chapter 7) could also belong to this putative Ancón sub-style—three of the hybrids are said to come from Ancón—but the unaffiliated figurines described here are less clearly hybrids. In Sub-Group 1 we list 17 figurines which display a mixture of such stylistic elements, whilst Sub-Group 2 shows seven figurines unrelated to any other style, but which have either a provenance from this area or best fit into this time and space "slot": the temptation to simply suppress one or the other has been great, but was resisted!

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GROUP 1: UNAFFILIATED FIGURINES RELATED TO SUPE OR HUAURA

Table 19 Plate 44, 45 Sample: 18 figurines (examined all). Heights vary from 17.1 cm to 3.8, though the majority are above 10.0 cm. This sub-group contains several different smaller groupings, which will be described separately: Five figurines representing a mythical personage? 1710, 1711 (identical) and 1054 probably show a mythical or legendary personage, characterised by a scarified face, an atrophied left arm and unusual genitals. Note also the profile, lacking the fronto-occipital cranial deformation. A hare-lip or some other malformation may be shown on 1054. Cabieses (1974: II, 58) shows a Chimu vessel, representing a face with a hare-lip and ritual scarifications (see Fig. 34). According to Cieza and Garcilaso (quoted by Cabieses 1974: II, 199) scarification for ritual or aesthetic purposes was carefully performed with flint points. Fig. 34 The atrophied left arm is folded upwards on 1710 and 1711, but hanging down lifeless (the effect of a stroke?) on 1054; the hand on the atrophied arm always has only three fingers. This not uncommon trait is thought to imply a bird-related symbolism, an interpretation difficult to apply in this case. The large protuberance in the genital area could be an erect penis, though such a rendering is unique. It is impossible to explain the nature of these personages. 1051 and 876 lack these mythical connotations, but the very pronounced bilobation and the exaggeratedly long arms, folded upwards in an unusual way, may also indicate a specific, possibly folkloric, personage. All five specimens are mold-made, with airholes placed behind the upper arms; the first three are in terracotta and white pottery, the other have added black. Links with Huaura include the necklace of large beads (all); the stripy headdress (1710, 1711), the press-molded earplugs or hair at the back (1054, 1051, 876); painted tear-lines (876) are also shared with Supe. The identical 1710, 1711 come from San Isidro de Sayán, 876 comes from Ancón T. 405: the accompanying finds are not diagnostic (see Appendix 3, Gravelots). The "Litoral Norte" provenance for 1054 is obviously erroneous. Figurines with a modified Supe shape, and with different press-molded features 1801, 87, 504, 501: These four specimens show a Supe influence in their overall shape, but many details are different, especially the press-molded ones. 1801, 87, 504 have large heads with a rounded crown, projecting at the sides, whilst 501 has a nearly flat crown and square head; the facial features are press-molded, with elliptic eyes, and prominent noses and lips: note the molded circular eyes on 501, the nose-to-chin lines and teeth on 504!. The squat body has thin arms, folded upwards on 1801, 87 and 501; separation of the legs (1801), with vestigial feet (504), the base of 501 is broken off. 504 has unusually large breasts, 87 small nipples; 1801, 87 and 501 have a prominent umbilicus and all (except 501-broken off?) have rather unusual, probably female genitalia. The back of 1801 has a molded feature (a child?), but placed low down, 504 shows molded hair, 87 and 501: featureless. All except 501 have molded protuberances (ear-plugs?) on the temples near the eyes, and all (except 87) have necklaces: large semi-circular beads (1801, 501), a groove with molded square beads (504); note that none of the figurines appears to wear a headdress. The four specimens are mold-made, hollow, with air-holes behind the upper arms, (except 501, with airholes at the waist). All are monochrome (red, brown, 504 is black).

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Two fairly reliable provenances (see Appendix 1, Collections) give: "Chancay" (501, which is possible, and the "Vicinity of Lima" (504), which is improbable—as is the unverifiable provenance from Pachacamac—as no figurine of this type has been found in the Rimac or Lurín valleys. Distantly Supe-related figurines, mostly with an ovoid body and lacking arms 1647: The overall shape and elements like the necklace and press-molded decor in the back are reminiscent of Supe, but the molded edge to the headdress, genital triangle and feet placed very high above the base are unusual; as for the airhole at the anus it is totally exceptional, because it doesn't even occur in the closely related North Coast group (see NC MH Gr.2, Vol. I, Pl. 39). Mold-made, hollow, with one air-hole at the anus, terracotta pottery with traces of white paint. 90: Ovoid specimen, the rounded crown outlined with a molded edge, press-molded facial features (circular eyes with eye-balls, short nose, straight mouth), no neck, shoulders, arms or legs, large protuberance on lower abdomen (umbilicus? penis?), rounded profile, molded parallel lines (hair?) on upper back; molded necklace with "pendants". Mold-made, hollow, with air-holes at shoulder level, terracotta pottery with traces of white paint. 1724: Ovoid specimen, with a rounded head, which is an integral part of the conical body; molded ridge around the headdress, the chin, the abdomen; molded facial features: oval eyes, large nose, molded lips, semi-circular ears (right ear broken). No arms or feet; no breasts, no umbilicus, stylized incised vulva; vertical grooves (hair?) and double reverse triangle shown in the back. Mold-made, hollow, with air-holes at upper arms level, terracotta pottery with traces of white paint. 556: Similar shape as 90, 1724, but with molded and partly incised decor. Lozenge shaped eyes, small nose, molded lips, no ears. No arms, feet, genitals, decor of two semi-circular grooves. Plain, flat back. Frontal mold only, solid, lateral perforations from side to side, pale orange ware. 559: Different from the others, crude, hand-made specimen with wide head and body, modelled arms folded above the waist (right arm missing); incised features (lozenge-shaped eyes, straight mouth, hair), modelled nose broken, ears not shown; small breasts, incised genital triangle and vulva. Pale grey. Three of the five specimens have a fairly reliable provenance from the Huaura and Chancay valleys; 556 comes from Huarmey, which may explain the variations from typical Supe figurines, whilst 1647, said to come from Ancón, perhaps also comes from further north? Three figurines with Supe and Huaura features 64, 1316: These two specimens, with their large semi-circular headdress and completely separate, tubular legs, strongly resemble figurines from the North Coast (see NC Transitional MH-LIP Gr.4, Vol. 1, Pl. 46). However 64 has traces of vertical stripes on its headdress, a Huaura trait, whilst 1316 was amongst the figurines collected on the trip of the Austrian SS “Donau”, which all come from the Central Coast (See Appendix 1, MVV). Furthermore most of the NC specimens have a molded scull-cap below the large crown or perforations through that crown, and their airholes are at the neck, the waist the vulva, whereas these two specimens have airholes behind the upper arms, like most Huaura and a large number of Supe figurines. They also share—with the above unaffiliated and with some Huaura or Supe specimens—the ear-plugs placed near the eyes on the temples; the outlined genital triangle with incised vulva also occurs in Huaura. As with some of the Supe figurines, or with the somewhat different tradition described above, we may be dealing here with specimens from areas slightly further north? 1943: The front of the body of this specimen, with folded arms, no legs, a molded "belt" and an oval base, is similar to Supe figurines, although narrower. In the back, however, we see diagonally molded hair (on the headdress) and a molded necklace (also visible in front) descending to mid-back. The shape of the headdress, with its projections on the sides and its

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decor of large dots is also unusual, reminiscent of Early Ychsma figurines (e.g. 290,1480,/Pl.101). The figurine is mold-made, though the face is hand-retouched, hollow, with one airhole in the middle of the lower back. Some features (the molded hair, the belt, the airhole in the middle of the back) also occur on 465/Pl.100, a Chancay-related "Unaffiliated" specimen. GROUP 2: MISCELLANEOUS LATE MH-EARLY LIP UNAFFILIATED FIGURINES

Table 19 Plate 45 Sample: 7 figurines (examined all). Sizes vary. The figurines in this sub-group show isolated similarities with Central Coast groups of the period, with some specimens being very unusual, whilst others are more clearly related to known styles. Some figurines Each figurine is described and discussed separately. 242: From the Reiss and Stübel excavations at Ancón. A very unusual hand-made figurine. The appliquéd coffee-bean eyes also occur on 1902, 98 (below). The profile, reminiscent of early Nasca figurines, also occurs on some Chancay Gr. 6 figurines (1457, 1940/Pl.95). The "rectangular" nose occurs in Supe and Huaura. Arms lifted towards the head feature on 877/Pl.41-Huaura Gr. 3), and on Ychsma Gr. 1 figurines (P569, 1584, 1427, 513?Pl.102). All these specimens date to the end of the MH or the early LIP, also a likely date for this figurine. Kaulicke (1983: Abb.64.11) does not date this figurine. 1821: Small hand-made, solid figurine, with appliquéd eyes, arms and ear-plugs; featureless body standing on an oval base. Although the overall look and the manufacture are unusual, (but see also 242, 1902), traits such as the bilobation (though uncommonly pronounced, and with unusual pointed lobes), large disk ear-plugs, folded arms are compatible with the late MH on the Central Coast. The provenance from Ancón is unverifiable. The following two figurines are not unlike the small, hand-made, solid figurines in Chancay Group 6, except that they have folded arms and are therefore probably earlier: 1902: Small hand-made, solid specimen with coffee-bean eyes, large nose and flat profile similar to 242 (above) and such specimens as 1380/Pl.95 or 1423/Pl.96-Chancay Gr.6; arms folded at the waist, separate legs (broken), no genitals. No provenance, probably of the same date as 242 (above). 1296: shows an unusually pronounced bilobation with rounded lobes, large flap ears and separate legs, features which occur in a small but well defined late MH North Coast group (see NC-MH Group 5, Vol. I, Pl. 42). However the bilobation and ears are somewhat smaller, the legs thinner and less splayed out and the lack of painted decor, the circular eyes (raised and incised, very similar to 605/606/Pl.39 in Huaura 2.3, the incised genital triangle do not fit into the NC group. A figurine with a similar exaggerated bilobation occurs in Chancay sg. 1.3.3 (see P503/Pl.54), another, with similar large flap ears with perforations and splayed out legs, but with extended arms, occurs in Chancay sg. 6.1a (see 1953/Pl.94). So 1296 (without provenance) probably comes from this general area of the Central Coast; a late MH/early LIP date is likely. 98: has a number of unique features: an extremely long face with well modelled jaw-bones and a pointed chin, coffee-bean eyes, a huge nose with nostrils and alae, thick appliquéd lips, tiny semi-circular ears (left broken), a very narrow cylindrical body, standing on a broken-off base. The elongated head does occur both in Huaura and Chancay but very rarely—as here— without a headdress. Note also that the figurine, though hand-made and solid, shows vertical joins, as if imitating a mold-made version. The figurine is said by Wiener (1880: 652) to be part of a gravelot from Ancón, also containing a Chancay cuchimilco and a wooden figure wrapped in clothing (see Appendix 3). Wiener's data are unreliable (see Appendix 1) probably also in this case, because the associated cuchimilco, which appears to have folded arms—an early feature—has traces of Chancay "specs" and a headdress with four perforations in sets of two, which are usually a later features. The wooden figurine and its textile wrapping are un-diagnostic for dating purposes. 151

As the figurine bears a remote resemblance with LIP figurines from Tantamayo, Dept of Huanuco (see Vol. III, Pl. 66) it might not come from the Central Coast at all: it is included here because of its alleged provenance. 564: Unique specimen with a fairly reliable provenance from Lauri, Chancay. The bulging eyes, "rectangular" nose, nose-to-chin lines, tab ears with parallel incisions, occur in various contemporary figurines, mainly Huaura, but the shape is unique. It is hollow, with airholes at neck level, but it is not clear whether it is hand- or mold-made; it has a black slip on a buff paste and the decor is incised. The black ware recalls late MH Group 3 ("Cats"); black ware reappears in classic and late Chancay, but mostly reduced-fired and often with white or coloured incrustations, not present here. 564 is tentatively dated to late MH/early LIP. 153: Possibly mold-made, hollow figurine of a hunch-back. The narrow head lacks the typical fronto-occipital deformation, long narrow face with unusual modelled eyebrows, large eyes, incised mouth and deep nose-to-chin lines; the long rectangular ears are a MH feature (of southern origin). The narrow body has arms folded upwards and short conical legs, feet appear to have been broken; a small incision indicates female genitalia. There are only two Huaura hunch-backs (see 1224, 1723/Pl. 37), but they are fairly common in the Chancay culture, where they are mainly shown sitting. The overall aspect is definitely Central Coast: the date could be anything from the late MH to the Late Horizon, though the air-holes behind the upper arms are most common for the late MH/early LIP. To sum up: An extremely disparate grouping of figurines showing the multiple styles and crosscurrents interacting at the end of the MH and the beginning of the LIP in the area of the Norte Chico. These "groups" illustrate exactly what Segura (1997: 245), describing gravelots from Ancón dating to this period, means, when he states: "uno de los rasgos distintivos de los entierros de fines del Horizonte Medio e inicios del Periodo Intermedio Tardío en Ancón, ... es su carácter multiestilístico o, más bien, su elevada permeabilidad a influencias no locales, hecho patente en los componentes del ajuar funerario" 1. The only problem is that we don't know what ethnic, political, economic and cultural realities are expressed in this phenomenon. We have now reached a point in time when the Chancay culture will emerge and dominate the area from then onwards.

"One of the distinctive features of the burials in Ancón dating to the late MH and the early LIP is their multiplicity of styles, or rather their high permeability to outside influences, evident in the gravegoods". (My translation). 1

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CHAPTER 9: FROM THE LATE MIDDLE HORIZON TO THE LATE HORIZON PART I: THE FIGURINES OF THE CHANCAY CULTURE AND UNAFFILIATED (CHANCAY-RELATED) FIGURINES INTRODUCTION The Chancay culture represents a break in the figurine tradition of the Central Coast in that, for the first time, we find a number of iconographically well defined and totally distinct figurine types within the same culture, obviously representing personages with a mythical or historic context familiar to the Chancay people. This trend already starts on the Central Coast during the late Middle Horizon, with the appearance of such groups as the anthropomorphic "Cats" and "Birds" (Chapter 7), early anthropomorphic Huaura figurines or Huaura specimens with elongated heads (Chapter 8), but within the Chancay culture the distinct types become more numerous and more specific. Ramos de Cox (1971) had already suggested some functional variations within the Upper Formative and early EIP figurines from Tablada de Lurín, but as more related figurines are recovered, it becomes obvious that the bulk is very stereotyped indeed (see Chapter 3). The Chancay cultural area, defined by Van Dalen (2012b:278) as extending from the right bank of the Rio Chillón in the South to the Fortaleza valley in the north and from the Pacific Ocean to mid-Chancay valley, varies somewhat through time. The consensus is that during the earlier part of the LIP, Ancón and the whole of the lower Chillón valley share a common pottery tradition with the Chancay and Huaura valleys—the actual heartland of the Chancay culture—whereas during the later part of the LIP, Ancón and the northern sector of the Chillón valley remain linked to the Chancay tradition, whilst the southern sector of the valley shares a common pottery style with the Rimac valley (Patterson and Lanning 1964:116; MacNeish, Patterson and Browman 1975:62). Several explanations are given for this shift: the existence of two distinct ethnic groups on the Central Coast, speaking two different languages north and south of Carabayllo, as reported by Cobo (1964:II, 301), the conquest of the sector north of Carabayllo by the kingdom of Chimor (Rowe 1948: 40) 1, a reduction in the influence of the oracle at Pachacamac after about 1050 (MacNeish et al. 1964:116). These perhaps over-simplified narratives are certainly not born out by the figurine sample and may be due to a limited knowledge of the pottery of both the Chillón and the Rimac valley during the LIP. The main reason is probably that in both valleys the pottery is rather poor, both iconographically and from a technical point of view, so that there has not been a real incentive for either archaeologists or huaqueros to study or collect it. Why this should be the case, in two rich and prosperous valleys is one of the questions which has to be addressed. No doubt the relatively dense population of colonial times lead to the destruction of many archaeological sites, especially in the Rimac valley. The reality—as seen in the figurine sample—is rather more complex: during the early part of the LIP (phases 1 to 4/5, e.g. Chancay phases 1 and 2) there is little evidence of a Chancay influence in the Chillón valley, with only one certain and five fairly reliable provenances out of 153 figurines from there, though the influence appears to extend sporadically into the Rimac valley, at sites like Huallamarca and Maranga (see also Chapter 10: Ychsma). During the later LIP (phases 5 to 8, e.g. Chancay phase 3), whilst over 80% of black-on white Actual control by the Chimu Empire does not appear to have reached further south than the Casma Valley (Moore and Mackey 2008: 789).

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cuchimilcos (Group 1) 1 come from the Huaura and Chancay valleys and from Ancón, blackon-white figurines are also quite common in Chillón, though only small cuchimilicos (sg.1.4.1B) and in a slightly different style. As for the other Chancay types, only one single Group 2 black-on-white figurine out of 65, and only three Group 3 figurines out of 35—the latter with unverifiable provenance—and three out 22 Group 4 figurines come from the Chillón valley. At the same time, but possibly with a slightly later starting point and continuing into phase 4, we see the appearance in the Chillón valley of unmistakable Chancay style cuchimilcos in red- and blackware, the former probably representing Kroeber’s SubChancay (1926c: 351f.), whilst black-on-white cuchimilcos are still produced in Chancay. Finally, in the course of the LH, the figurine production becomes fairly homogenous from Ancón to the Lurín valley and can no longer be identified as belonging to the Chancay culture as such. CHRONOLOGICAL FRAMEWORK OF THE CHANCAY CULTURE (see Chart 3)

Until fairly recently no in-depth study has ever been made of the Chancay culture and its pottery style 2. Attempts at a chronological sequence were made by Strong (1925), using Uhle's excavations at Ancón (see column 2), by Kroeber (1926b), using Uhle’s excavations in the Chancay Valley, as well as by Willey (1943b), who excavated at Ancón, and by Horkheimer (1970) who excavated in the Chancay valley. In addition Menzel (1977:41ff) has correlated Uhle’s Ancón graves with her Middle Horizon chronology. This allows us to date Strong’s (1925) phases, Middle and Late Ancón. Kaulicke (1983) has used these chronologies in his study of Ancón gravelots. During the 1990s, Miguel Cornejo Guerrero has attempted a Chancay seriation (see column 3), using gravelots excavated by Horkheimer at Lauri, Chancay Valley. (Cornejo Guerrero 1985, 1991, 1992). In his 1985 seriation, Cornejo uses 18 graves from Lauri (Lauri 1 to 12, 15; Lauri VI/1; Lauri VII/1,VII/1',VII/2, VII/3 3). In his 1991 chronology he leaves out graves Lauri 2, 3, and 5-10—gravelots listed as "secondary" to phases 3 and 4—but adds graves 13, 14; the graves from sectors VI and VII remain the same. Finally in 1992, he concentrates on five funerary contexts (La-1, La-VII(2), La (4), La (11), La (12) 4 because they are the richest funerary contexts (with an average of 45 offerings) and they present a novel ordering inside the tombs. On the basis of these seriations, Cornejo proposes a chronology— for the cemeteries at Lauri—of three main phases, the third one subdivided into two subphases, A and B (Cornejo 1991:104) 5. In his study of the Reiss and Stübel material from Ancón, which contains many figurines, Haas (1986) follows the Strong ceramic phases in combination with the Rowe/Menzel chronology. However in his dating of specific objects he often equates Late Ancón 1 with LIP 1-2, (rather than LIP 1-3), which results in a certain discrepancy with my own dating. It is also unfortunate that he assigns objects to specific ceramic styles, even if the ware of the object does not have the specific characteristics (f.i. nos. 111 (red-on-white) is assigned to red base 3-colour geometric; 112 (black-on-white), 113 (red-on-white) are assigned to white base 3colour geometric; 122, with a white slip, to Chancay black-on-white). Combining observations by these authors with the evidence provided by the figurines and with associations from gravelots, a chronological sequence of four phases does emerge for the Chancay pottery style as a whole (see Chart 3, column 4). This is somewhat distinct from Cornejo's sequence for Lauri, which—in its phase 1—contains only Teatino style pottery. The matching of this chronology with the epochs and phases of Rowe and Menzel's pan-Peruvian chronology and with absolute dates is at best tentative. 13 C14 dates from six Chancay sites The calculations are based on certain and fairly reliable provenances in sg. 1.4. For an overview of early Chancay research see Krzanowski 1991a. 3 The roman figures indicate different sectors of the Lauri cemetery. 4 Numbering as given by Cornejo (1992: 329-321). 5 In his 1985 chronology Cornejo uses four phases, whilst in 1991 and 1992 phase 3 becomes 3A, phase 4 becomes 3B. To avoid confusion I use the 1991 and 1992 chronology, even when referring to the 1985 seriation. 1 2

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published by Pazdur and Krzanowski (1991) give a time span ranging from AD 958-1451, which matches very closely the dates for the LIP. Since the mid 1990s, the Proyecto de Investigación Arqueológica Chancay-HuaralAttavillos (PACHA) has undertaken a series of excavations and research in the Chancay valley, resulting in a number of publications by P. Van Dalen Luna (2012a, b, c, 2013a, b and others). No doubt this will further refine the chronology 1. Chancay Phase 1 (MH4 to LIP 1-2) Corresponds roughly to Cornejo's phase 2, though it starts earlier. Some of the earliest figurines which can be assigned to the Chancay culture (Chancay 1.1.4, 1.2.4, 1.3.4) are figurines with folded arms in red ware, with press-molded details and/or white decor or figurines with a very thin white slip, mostly only surviving in traces, applied on the terracotta ware, sometimes with red decor. These and related wares (referred to as "miscellaneous" in sub-group 1.1) are related to a sub-style or -styles originating in Ancón (see Introduction to the late Middle Horizon, Chapter 7). Out of 23 certain or fairly certain provenances in sub-groups 1.1.4, 1.2.4, 1.3.4 (miscellaneous wares), 16 (69.5 %) come from Ancón, two (8.7 %) from Huaura, one (4.3%) from Chancay and four (17.4%) from Chillón. Some figurines in wares derived from Uhle's Epigonal style, i.e. red base 3-colour geometric (white and black designs on a red or orange grounding 2) and the white base 3colour geometric style (red and black designs on a white grounding), and even an early version of Black-on-white 3 probably also date to this phase. Unfortunately there are no associations to prove it. Although it is generally assumed that these styles succeed each other in time, there is evidence that they did overlap at Chancay (Kroeber 1926b: 271ff). At Ancón, red- or white base 3-colour geometric only occur together in significant proportions during Late Ancón I, that is LIP 1-3 (my phase 2) whilst black-on-white only becomes significant in LA II (my phase 3) (Strong 1925:160). However the resemblance of early Chancay figurine shapes in all these wares confirms some degree of contemporaneity. Associations for phase 1 figurines (see Appendix 3: Gravelots): • 1075/Pl.45/sg.1.1.1 = P.11299 from Ancón 1/T.962 is clearly made in a red base 3colour geometric type of ware and is associated with a 3-colour geometric vessel. • 863/Pl.49/sg.1.1.4 = P.8128: In grave Ancón 1/T.618, an early Chancay figurine with traces of white slip is associated with two typical late MH cups (P.8107, P.8132) and two jars (P.8093, P.8094), featuring a decor which could be 3-colour geometric (the sketches are poor). A similar cup, associated with an earlier epigonalderived bottle is dated by Ravines (1981:116-117) to his phase C (MH4). • 866/Pl.49/sg.1.1.4 = P.8149from grave Ancón 1/T.619 (see Pl.G3), which contained two figurines, an early Chancay specimen in white-on-red ware, associated with a Supe figurine (867/Pl.24=P.8150), dating to the late Middle Horizon, as well as a 3colour geometric vessel (P.8143). The latter can also be dated to MH4 by comparison with Strong 1925: Pl.49g (=MA II). • 862/Pl.49/sg.1.1.4 = P.9655from Ancón 1/T.721, a terracotta figurine with folded arms, is associated with a 3-colour geometric early Chancay vessel (P.9644) (Ravines 1981:143). Ravines assigns this grave (his grave no.45) to his Epoca C, i.e. MH4 (1981:115). Chancay Phase 2 (LIP 3-4) Fills the gap between phases 2 and 3 in Cornejo's Lauri chronology. Figurines with folded arms continue during this phase, with a variety of miscellaneous wares (red-on-white, blackon-red, even black ware), appearing alongside the white-on-red and white-slipped, 3-colour geometric and black-on-white; red base 3-colour geometric specimens diminish. An important Unfortunately I came across these publications too late to include a figurine excavated by Van Dalen at Macatón, Chancay valley (2013a:Fig.28). 2 For a review of the 3-colour geometric pottery style see Dolorier and Casas 2008, 2009. 3 The early black colour has a purplish tinge, different from the later brownish or greyish black. 1

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innovation is the appearance of figurines with extended arms. During this phase we see figurines with two sets of arms, one folded, one extended (Chancay sg. 1.2), very similar to those with folded arms only. We also find an early distinctive variant of figurines with extended arms, generally in red-on-white, white-slipped and plain red ware (part of Chancay sg. 1.3). Whilst some of these are related to the Ancón sub-style (see above), others—from the lower Chillón and Rimac valleys—show the beginning of what Kroeber (1926c) calls "SubChancay" (see below Phase 3). We also see direct predecessors of the classic cuchimilco (Chancay sg, 1.4)—both in 3-colour geometric and black-and-white wares—though with some features which disappear in the classic phase (Phase 3). Associations for phase 2 figurines (see Appendix 3: Gravelots): The associations for phase 2 are somewhat problematic, but the validity of the stylistic and iconographic criteria used to define this phase is corroborated by the dating of all the doublearmed specimens from the Reiss and Stübel Ancón excavations (243, 225, 341, 342) to Late Ancón I (= my phase 2) also on stylistic grounds (Haas 1986:nos.115-119). Two gravelots show that the figurines with double arms (Chancay sg.1.2) can be associated either with figurines with folded or with extended arms: • 871/Pl.51/sg.1.2.4 = P.6624, a hunch-back with two sets of arms, from Ancón 1/T.473, is associated with 870 (P.6630)/sg. 1.1.3, a black-on-white figurine with folded arms. This tomb is difficult to date: several associated vessels have a cream slip and a jar (P.6627) has a globular neck which could be classic Chancay. But there is also a plate (P.6638), described as having a black and red geometric design on an orange grounding: this sounds earlier (epigonal-derived?). An acceptable date for these associations would be (late?) Phase 2. • P.11055/Pl.51/sg.1.2.4 from Ancón 1/T.852, is associated with a number of figurines with extended arms (P.11050, P.11051), a small hand-made black ware specimen (P.11045/Chancay sg. 6.3) and with a few miniature pots, one of them (P.11045) with a design of vertical black-on-white stripes (Cornejo's decorative type PG-4) which occurs in both Chancay phases 2 and 3; the globular shape of the vessel is more akin to phase 2 types. However the black ware figurine could date to the later part of Phase 3! So the date of this gravelot is ambiguous. As for the associations available for the early cuchimilcos with extended arms (Chancay sg. 1.3) they are somewhat problematic: • 873/Pl.55/sg.1.3.4 = P.7427 from Ancón 1/T.555 (Ravines’s grave no.49) is assigned by Ravines (1981:155) to his epoch D "Inca-Pachacamac". The figurine is totally untypical of the Late Horizon. In the absence of other grave goods the dating must be based on the form of the burial—a shallow pit with an elliptic to rectangular plan, covered by a mat—or on the single fardo, wrapped in a textile, tied by a string. But these forms of burial and fardo already occur in the early LIP (Kaulicke 1983:37, 54ff.) 1. The figurine—with characteristics such as a rounded head-dress with two perforations and flattened edge (profile), elongated eyebrows, traces of painted stripes across the legs—is more typical for phase 2 (see also chronology of sub-groups 1.1. to 1.3). • P504/Pl.55/sg. 1.3.4, is listed as coming from Uhle’s Ancón grave T 14a (Strong 1925:190 and Pl.49d), located immediately above T 14 (Strong 1925:fig.8). The lower burials at Ancón/Site T date to MH4, the upper burials (a) are intrusive in a later midden strata and generally dated to Late Ancón II/LIP 5-8. However, Strong writes that the figurine was found "above T 14" and Uhle specifies that "it may have been put there by people of a later time who knew of the presence of the old grave" (Strong 1925:146). This clearly implies that the figurine was not actually part of the Unfortunately none of the Ancón 1 graves for which I have data come from the same excavation zone (faja 60/61); however the recorded burials nearest in numbering (T.543, T.548, T.578) all date to the late MH (Ravines 1981:122-129).

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upper burial T 14a. Strong also points out that the ware is reminiscent of MAII/MH4 (1925:146) and actually assigns the figurine to that period (1925:Pl.49d). This dating is a little early: the pottery and overall aspect, traits shared with other early Chancay figurines which disappear in the classic black-on-white phase, suggest a date closer to the early LIP 1- 3, i.e. Phase 2. • 834/Pl.80/sg. 2.2 = Pg(3)XXVII, a somewhat unusual black-on-white Chancay Group 2 figurine, was excavated by Horkheimer at Pisquillo Grande grave 3. Comparing some associated vessels (see Appendix 3: Pl. G11) with Cornejo's typology for Lauri (1985), we note the following : Pg(3)CVI is nearest in shape to cantaro C-1g only found in Lauri graves 2 and 6, both considered by Cornejo (1985:42) as "secondary" to phase 3A in that they include one or two phase 1 vessels associated with phase 3 vessels. Pg(3)CXXVIII has a shape between aribalos A-1 (Cornejo's phase 2) and A-1a (phases 3A-3B), but the decor is clearly late 3-colour geometric (Cornejo's phase 2). Two further vessels, Pg(3)XXXII, a jarra between shapes J-1b and J-1c, both common in phase 3A and decor types Pg-5 and Pg-6, occurring from phases 2 to 3B, and Pg(3)LXXXIII, a cantaro C-1F, common during 3A and B, with decor code as above, are less diagnostic. Finally Pg(3)CXVII and Pg(3) CXXIII are so-called Chinos, face-necks which Cornejo considers as diagnostic for phase 3B (1991:110). However if we compare these two specimens with the typical phase 3 Chinos (Cornejo 1991:fig.8) it is clear that we are dealing with something very different. The phase 3B Chinos present a nearly cylindrical neck, with no demarcation between the face and the headdress, as well as limbs in slight relief, whereas these Chinos have a somewhat globular face and flaring rim with no head-dress and no indication of limbs. If it were not for the lack of lateral handles, they would be much closer to Cornejo's aribalo 2a, only found in Lauri grave VII(3) and dating to phase 2 (1991:106; 1985:App.2,p.59). Other Chinos, which appear also earlier than phase 3B come from Pisquillo grave 4 (see below). I would therefore date this gravelot and the figurine (834/Pl.80/sg. 2.2) to the end of my phase 2; it also fits neatly in the hiatus which Cornejo's sees between his phases 2 and 3 (see Chart 4.3). Chancay Phase 3 (LIP 5-8) Coincides with Cornejo's Phase 3A and—partly—3B (see phase 4, below). Cornejo's subdivision into A and B (1991:108) is based on ceramic variations within the black-on-white style, as well as on association with other wares. These other wares are : - for phase 3A: a red ware with a reed-incised decor, named Lauri Impreso by Horkheimer (1970) - see also Krzanowski 1991c; - for phase 3B: a revival of a 3-colour ware, with red added to black-on-white. The sample which I have assigned to this phase is dominated by the classic black-on-white pottery, represented by iconographically distinct figurine types, some of which begin in the preceding phase, as well as by stylistic variants such as Chancay-Huaura (1.5) and Jecuan (1.5.3) sub-groups. Beside the black-on-white ware the sample also contains figurines in red and in black ware. There is not enough evidence of change in the black-on-white figurine material to apply Cornejo's subdivision into phases 3A and B (though some Phase 3 black-on-white specimens have red face-paint, a phase 3B trait according to Cornejo), but I have tried to take his subdivision into account when dating available gravelots.

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Associations for Phase 3 Black-on-white figurines (see Appendix 3: Gravelots): Phase 3A: Associations come from three Lauri graves (used for Cornejo's 1985 seriation) and from a grave from Pisquillo Grande, all excavated by Horkheimer and stored at the MPCS, Lima: • 838/Pl.81=La(4)XLVIII, 840/Pl.83=La(4)XLIX, 837/Pl.81=La(4)LII, 845/Pl.81 =La(4)LIV, all Chancay sg. 2.3 1 from Lauri grave 4. The grave contains 55 vessels, dating to classic Chancay (Cornejo 1985:App.2, pp.13-22). • 839/Pl.61/sg. 1.4.1A =La(12)XL, from Lauri grave 12, which contained 37 vessels, with two cuchimilcos (only one recorded). (Cornejo 1985:App.2, pp.39-45; 1991:108). See also Pl. G10. • La(11)XLVIII=Figurine not included in this sample, because—though described in detail by Cornejo (1985: App. 2, p.38 2)—it is not properly illustrated. This figurine clearly belongs to Chancay sg. 3.1. It comes from Lauri grave 11, which contained 54 vessels, dating to Classic Chancay (Cornejo 1985: App. 2, pp. 29-39). • 836/Pl.62/sg.1.4.1B =Pg(4)XXX and 835/Pl.81/sg. 2.3=Pg(4)XXXI, from Pisquillo Grande grave 4 3. Associated vessels include three type C-1h cantaros i.e. Chino face-necks, holding goblets (Pg(4)XLVIII, Pg(4)CXII, Pg(4)CL). For Cornejo this type is diagnostic for phase 3B (1991:110). We have already seen that vessels which represent an intermediate stage between earlier face-necks (Cornejo's aribalo 2a) and the phase 3B chinos (cantaro 1h) appear in a late phase 2 grave (see above, phase 2/Pisquillo grave 3). I now suggest that the chinos here represent two further stages: Pg(4)XLVIII with its globular face, slightly flaring headdress and appliquéd circular eyes is still related to the earlier Pisquillo grave 3 specimens, whereas Pg(4)CXII and Pg(4)CXXVI have the near cylindrical vessel neck of the later chinos (see below Uhle's graves A1, B1 and B2 and Cornejo 1991:fig.8). A further olla resembles type O-1, dated to phase 3A. So this grave probably belongs to Phase 3A. Phase 3B?: An attempt to date three further graves, using Cornejo's seriation shows that the dividing line between the sub-phases 3A and 3B is not clear cut 4: • 1992/Pl.57/sg.1.4.1A =4-6437, 1993/Pl.66/sg.1.4.2 =4-6436 from Uhle’s Lauren (Lauri) grave B1, which contained a total of 39 vessels (see Pl. G9). Note that 1992 has red decor on its cheeks. Dating of some associated vessels, using Cornejo, is as follows: 4-6435: cantaro C-1h (Chino): 4-6438: cantaro shape C-1f : decor Pg-5?: 4-6439: aribalo shape Ar-1a?: decor Pg-7?: 4-6442: vaso shape V-1:

phase 3B phases 3A-3B phases 2-3B phases 3A-3B phase 3A-3B phase 3A

Overall date of Grave B1 : early part of 3B? • 1997/Pl.58/sg. 1.4.1A =4-6492, 1998/Pl.58/sg.1.4.1A =4-6493, 1994/Pl.64/sg. 1.4.2 =4-6451, 2061/Pl.64/sg. 1.4.2=4-6452, 1996/Pl.84/sg. 2.3=4-6494, 1995/Pl.88/sg. 3.1

A fifth figurine (La (4)LI, unrecorded) is only described as “anthropomorphic” in Cornejo's catalogue (1985: App.2, pp.13-22; 1991:108). 2 See below Chancay Group 3, Context. 3 This grave is unpublished. The associated vessels were recorded at the MPCS. 4 Many shapes have no exact equivalent in Cornejo; conversely he bunches together in one category several ornamental designs (e.g. Pg-7 covers vertical broken lines or criss-cross designs on the body as well as a more complex neck decor). 1

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=4-6495 from Uhle’s Lauren (Lauri) grave B2 (see Pl. G9) which contains 39 vessels, amongst them: 4-6454: cantaro body-shape, position of handles C-1a : phases 3A-3B shape of neck C-1d: phase 3B 4-6465: aribalo shape Ar-1a?: phases 3A-3B Design Pg-7?: phases 3A-3B 4-6466 (Kroeber 1926b:Pl.81F): cantaro shape C-1f : phases 3A-B decor Pg-7: phases 3A-3B 4-6475: vaso shape V-5: phase 3B 4-6477: cuenco shape Cu-1?: phase 2-3B 4-6482: cantaro C-1h (Chino): phase 3B Overall date of Grave B2: early part of 3B? • 1990/Pl.61/sg.1.4.1A =4-6371, 1991/Pl.88/sg. 3.1 =4-6372from Uhle’s grave A1 at La Mina, Chancay (see Pl. G10). It is described by Uhle as "touching the Incasic time" and contained 48 objects, including vessels such as: 4-6361: cantaro shape C-1h (Chino): phase 3B 4-6363: black ware cantaro: later than phase 3B? 4-6365: aribalo shape A-1a?: phases 3A-3B decor neck Pg-6: phases 2-3B decor body Pg-4: phases 2-3B 4-6366: aribalo shape A-1a: phases 3A-3B 4-6367, aribalo?: no equivalent 4-6369, cuenco or olla?: no equivalent 4-6370 (Kroeber 1926b:Pl.82C): cuenco shape Cu-4: phase 3A 4-6409 (Kroeber 1926b:Pl.80D): aribalo shape A-1a?: phases 3A-3B In addition A. Rowe (2014: 170-178) has identified three tunics in the grave as being of highland origin and Inca in style. Overall date of La Mina, grave A1: phase 3B. To recap: According to Cornejo, chinos are characteristic for phase 3B, so the three gravelots (above) as well as the graves 3 and 4 from Pisquillo Grande (see above, phases 2 and 3A) should all date to phase 3B. However the differences between the chinos in Pisquillo Grande graves 3 and 4 and those in Uhle's graves above and in Horkheimer's Lauri grave VII(2) (see Cornejo 1991:fig.8; also Pl. G10), the association of that type with phase 2 and 3A vessels, seem to imply that chinos had a much longer life span than that envisaged by Cornejo. Obviously his chronology still needs to be refined, using a larger sample. Interestingly, there is hardly any mention in publications of variants in the black-on-white Chancay pottery style. However in the figurine sample such variants are represented by the highly distinctive Chancay-Huaura and Jecuan sub-styles (Chancay sg. 1.5). These may well be the successors of what Vallejo (2010) sees as the Huacho style (see Chapter 8). Chancay-Huaura combines Huaura traits—especially the occurrence of males—with typical Chancay wares. The Jecuan sub-style shares some Chancay-Huaura decorative elements, but lacks other specific characteristics: I suggest to call it the Jecuan sub-style (1.5.3), because it resembles pottery found by Uhle at the Calera de Jegoan (sic), his Chancay 159

Site C. In his description of the material from Jecuan, Uhle says that it shows "a continuous development from the Epigonal, through Three-coloured pottery ...to the older and middle phases of the White-and-black pottery of Chancay" (Kroeber 1926b:293). The published black-on-white vessels from the site appear to have a decor which could be somewhat earlier than classic Chancay in that the designs are still close to 3-colour geometric (Kroeber 1926b: Pl.80C, 81G, 82D-G) 1. Of particular interest are the curlicues and stylized fish design (Kroeber 1926b:Pl.81G), which also occur on Chancay-Huaura and Jecuan. They could be somewhat earlier than classic Chancay in that the designs are still close to 3-colour figurines and the Chancay "Interlocking" design (Kroeber 1926b:Pl.82E) which appears on early and later black-on-white figurines (sgs. 1.3, 1.4). However judging from the changes within the figurine material, the Chancay-Huaura and Jecuan sub-styles probably date to the later half of Phase 3, some figurines with Jecuan-related features (sgs.1.4.3, 1.5) surviving into Phase 4. A number of red ware and black ware (or black-slipped) figurines also belong to Chancay Phase 3 (see sub-groups 1.6, 2.4, 3.2, 6.2. and 6.3). The red ware, often with punctated or incised decor, is perhaps related to the "Lauri Impreso" ware (Krzanowski 1991c), though Kroeber's (1926c) "Sub-Chancay", a crude Chancay-related ware, is probably a better candidate. Kroeber gives its distribution area as the Chillón and Rimac valleys: this is reflected in the figurine material, with hardly any such specimens from the Chancay valley and relatively few from Ancón. As to the black ware 2 it is documented in Chancay (Kroeber 1926b) and Ancón assemblages during various phases, representing 7% of Late Ancón II (Strong 1925:60, Table 1). For the Chillón-Rimac area Kroeber (1926c) mentions that it always occurs in association with Sub-Chancay. Associations for Phase 3 red ware figurines 3 (see Appendix 3: Gravelots) • 1595/Pl.76/sg. 1.6.1A, Associated = Kroeber's 1588/572, a roughly-made figurine with its head missing excavated by Kroeber at Marquez, is associated with several vessels. The shape of two jars (see Pl. G11) is similar to a Late Ancón II vessel (cf. Strong 1925: Pl.42i), so the gravelot dates to Phase 3. • 2013/Pl.76/sg. 1.6.1A, Associated = 4-5774 comes from Uhle’s Ancón grave T2. The actual location of this grave is uncertain (Strong 1925:181). The non-descript pottery, including a small llama (Strong 1925:Pl.43g), is classified as Late Ancón II (ibid.: 168). The figurine itself is of very poor quality and only distantly related to Chancay by its high headdress with perforations. It could be Ychsma? Chancay Phase 4: Late Horizon Cornejo's Phase 3B extends into the Late Horizon (Cornejo 1991:111) 4 during which the Black-on-white ceramic style apparently survives in the Chancay heartland. Krzanowski (1991b) makes out a case for Inca influence in the area, though this influence is negligible in the ceramics. Van Dalen also remarks that in the Tawantinsuyo the Chancay people continued with their specific cultural manifestations, including the production of the typical Chancay ceramic style (2012c: 296). As far as the figurines are concerned, the Late Horizon marks a break in the tradition which is clear enough to justify an additional chronological phase to the Chancay sequence. The black-on-white pottery appears to survive in the Chancay valley, but there is evidence of iconographic changes in some of the large black-on-white cuchimilcos (e.g. 2421, 1150, 245/Pl.67 in Chancay sg. 1.4.2 and the "baroque" specimens in Chancay sg.1.4.3). We also see the rare appearance of additional red—an element which Cornejo considers as diagnostic for his Phase 3B—like on the cheeks of 1239/Pl.67/sg. 1.4.2. Similar changes are not apparent amongst the smaller, less elaborate black-on-white figurines. Many Chancay figurines assigned here to Phase 4 are manufactured in red or black wares (see sgs. 1.6.1 and 1.6.2). But The Jecuan sub-style was not confined to that site, to judge from a vessel with similar decor found at Huaral Viejo (Kroeber 1926b:Pl.80C) and from Jecuan style figurines coming from other sites. 2 This is often referred to as "Chimu" ware, but it is iconographically and stylistically totally different. 3 There are no gravelots associated with phase 3 black ware. 4 In Cornejo’s chronological table (1991:fig.10) Phase 3B appears to end at the beginning of the LH. 1

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since over 75% of these come from outside the Chancay heartland, it is possible that the typical small black-on-white cuchimilco went on being manufactured in the Huaura and Chancay valleys. Associations for Phase 4 figurines (see Appendix 3:Gravelots): There is only one well documented gravelot for Chancay phase 4 figurines. It was excavated by Uhle at Ancón Site E. Uhle assigns the three graves from this site to “partly ...of the Chancay period... partly of a more recent age...in which contact with the Inca civilization has already taken place” (Strong 1925:176): • 2063//Pl.77/sg.1.6.1C = 4-5851from Uhle's Ancón grave E1, is associated with two vessels of which only one is illustrated (Strong 1925:Pl.43d). The decor, though black-on-white, does not look typical for classic Chancay. Whilst Uhle assigns E2 to the Inca period and E3 to Chancay, he does not assign E1 to either. The figurine itself, made of one mold, solid, with an incised headdress border featuring broken lines with multiple dot fillers, clearly does not belong to classic Chancay, so could be Phase 4. Since a strong Chancay-derived influence is apparent in all Central Coast figurines during the Late Horizon, I have tried to isolate a number of iconographic and stylistic traits which allow to distinguish between what I see as Chancay phase 4 figurines and other Late Horizon figurines on the Central Coast. Obviously this applies to Chancay figurines which are not black-on-white (mainly sub-groups 1.6, 2.4, 2.5, 2.6, 3.2), but which have a Chancay look about them and/or come from areas of Chancay influence. However, some of these distinctions are the result of my own classification which is open to discussion! Chancay phase 4 figurines

Other Central Coast Late Horizon figurines

1a. Hollow figurines with extended arms Headdress: mostly has a patterned border and/or Headdress rarely has a border, perforations are rare. perforations along the top (43/52=83%) Air-holes: practically never at waist (shoulders, Airholes: always at waist (as well as at ears etc.) mouth, ears, etc. 1b. Hollow figurines with folded arms There are no late Chancay hollow figurines with folded arms

As above 1a.

2a. Solid figurines with extended arms Headdress with patterned border and/or perforations

There are no solid Late Horizon figurines with extended arms (exception: 346/Pl. 114/ LH 1.2B)

2b. Solid figurines with folded arms There are no late Chancay figurines with folded arms

Headdress may have a patterned border, but the shape is different; perforations are relatively rare.

Common traits (optional):Large semi-circular eyebrows; Punctated nipples; Double incision at waist (part of genital triangle); Circular ear-plugs; Necklace, often bulky A Chancay phase 4 trait, rare on other LH figurines LH figurine traits, rare on Chancay phase 4 Headband design of broken lines with multiple dot figurines: fillers Emphasized shoulders; emphasized clitoris; linked feet

THE FIGURINES OF THE CHANCAY CULTURE The 756 Chancay figurines can be divided into the following types or groups: Group 1: The Cuchimilco Group 2: Figurines with elongated head Group 3: The "Witch" Group 4: The Attendant Group 5: Personage with Helmet Group 6: Small, crudely-made figurines

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Group 7: The Anthropomorphic Monkey Chancay Molds In addition this chapter contains a small group of LIP Unaffiliated Figurines, which are (probably) mostly Chancay related. GROUP 1: THE CHANCAY CUCHIMILCO The word cuchimilco 1 is generally used to designate the most common of Peruvian pottery figurines: the classic black-on-white Chancay doll, female, standing, generally with extended arms, naked, except for a headdress and with a distinctive face paint in the form of "spectacles". The classic figurine is preceded by a variety of related earlier forms. So the name will be used for all Chancay figurines of that type, regardless of ware. The forms predating the classic cuchimilco can be classified by the position of the arms: folded (Sub-group 1.1), folded and extended on the same figurine (Sub-group 1.2), extended but differing from the classic sg. 1.4 prototype (Sub-group 1.3), the classic cuchimilco (Subgroup 1.4). A further sub-group (1.5) covers cuchimilcos of a suggested Chancay-Huaura and other sub-styles.

SUB-GROUP 1.1: EARLY CHANCAY CUCHIMILCOS WITH FOLDED ARMS This sub-group comprises 68 specimens, which are so diverse, that the only criterion for a manageable sub-division, seems to be the various wares. Note the clear distinction between two types of 3-colour geometric ware, typical for Early Chancay: one with a red base, the other with a white base (Dolorier and Casas 2009:174ff.) Sub-group 1.1.1: Red base 3-colour geometric and related wares Sub-group 1.1.2: White base 3-colour geometric and related wares Sub-group 1.1.3: Black-on-white ware Sub-group 1.1.4: Miscellaneous wares The sub-groups are described separately, but discussed jointly. SUB-GROUP 1.1.1: EARLY CUCHIMILCOS : FOLDED ARMS, RED-BASE 3-COLOUR GEOMETRIC AND RELATED WARES

Table 20 Plate 46 Sample: 17 figurines (examined 16) Measurements Maximum Height (15) 49.0 cm Width (14) 20.5 cm Thickness (14) 12.0 cm Weight (13) over 1000 gr.

Minimum 10.5 cm 5.2 cm 2.8 cm 80 gr.

Median 13.4 cm 7.3 cm 5.0 cm 240 gr.

GROUP CHARACTERISTICS

Very diverse group of standing figurines, greatly varying in size and shape 2. The head is—compared to other groups—relatively small. The crown is rounded and generally shows marked fronto-occipital deformation in profile (exception: 103 with rounded profile); 1075, 675, 231(?) also show bilobation; note the exceptional elongated shape of 675; 143 has a flattened head (headdress). The face has generally normal proportions, with some modelling on the larger specimens only (1075, 675, 541); face-paint is common and consists of zoning of the cheeks, often outlined with contrasting nose-to-chin lines; occasional outlining of the chin; note the triangle on the chin of 1075, 541, rectangular cheek-zoning with rows of lozenges with dot fillers on 675; larger specimens have complex tearlines (1075, 541: below the eyes and near the temples), two short parallel lines on 231, 1462. The chin, rounded or I have not been able to trace the origin of this word: it is not listed in dictionaries of either Spanish, Quechua or Americanisms! 2 It would serve no purpose to list certain specimens as atypical – though there is obviously little in common between say 675 and 406! 1

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pointed, mostly protrudes only slightly, rarely jutting. Eyes: modelled eye-sockets with occasional arched (e.g. 1075) or elongated (1320) eye-brows; elliptic eyes, with molded lids (often painted black), eyeballs (white), and black pupils (exception 1015, with circular eyes). The nose is straight or slightly hooked, nostrils or alae are rare on the smaller specimens, though a few figurines already have the classic Chancay nose (e.g. 1075, 675). The mouth is mostly oval, with molded, half-open lips, outlined in paint; the interior can be painted white; 1075 has dots for teeth. Ears vary: they are naturalistic on the large specimens (675, 2243), tab-like on smaller figurines (143 to 406), indicated by circular ear-plugs placed near the temples (1075, 541, 1462, 138) or not shown (e.g. 512, 1015). Neck: Generally shown, also at the sides and back. The body varies: it is mostly widest at the shoulders or upper arms, with tapering or straight sides (e.g. 675, 409), but 138 to 406 have no shoulders and narrow straight bodies; the profile is generally straight or slightly convex, mostly emphasising the waist and buttocks. The arms are folded on the chest, at right angles (six) upwards (10), decorated with painted lines on 675, 231 (?), note the continuous painted line joining the arms across the chest (675); hands are generally very sketchy, but carefully molded on the large specimens (675, 2243 have fingernails painted white!); 1512, 409, 1015 have three fingers only. Legs are completely separate on seven specimens, more or less cylindrical, three of them with small feet (incised toes on 675, 409); the rest have conjoined legs, with a deep groove marking the separation and mostly feet protruding at front and back; all have horizontal lines painted across the legs. Genitals: All the specimen are female, with a genital triangle, either large and outlined in colour, or smaller, only incised and raised (409, 1015, 1513, 406), always with a slit to mark the vulva; note the pubic hair (lozenges and dots on 675, dots only on 1015). Small nipples, placed high on the chest on the larger specimens, no nipples on 1512, 1320, 143-406.The umbilicus is shown on the large specimens; on 231 it is in relief, on 1015 a large depression above the waist may indicate the umbilicus or the rib cage? Back: Some modelling of the neck, waist and buttocks is very common; 1462 shows press-molded hair; on 541, 1015 the headdress or hair is painted at the back. Clothing/Accessories: All the specimens wear a rounded headdress of varying height and decor: plain (1015, 1134, 406), with a painted border (2243: plain, 1320: variant of Chancay Interlocking); striped with a plain border (P.7276, 1512, 409, 1513) or an unusual border of meanders combined with triangle-and-dot (541), or a more elaborate decor of dots (138, 143); note unusual features such as the wide indentation and the painted "feather" motif around the crown (1075), the appliquéd brim with perforations (675), the wide flattened edge on 1513, 406. Body-paint rather than clothing seems to be represented, the most common being the outline of the genital triangle and horizontal stripes across the legs or the arms; on 2243, there are fine-line designs based on the "triangle-and-dot motif" on the genital triangle, with an additional white line with the same design above the waist. Ear-plugs: 1075, 541, 1462, 409? wear circular ear-plugs placed near the temples, 1075, 541 with a cross-and-dot decor and protruding at the back. Necklace: seven specimens wear a necklace of molded and/or painted beads, 1513, 406? wear several rows of very small beads, four have a painted line at the neck. Manufacture: All the figurines (where known) are mold-made and hollow, 231 is solid. Airholes vary greatly: behind the upper arms (six), at the waist (four), one at the waist, ears and vulva (one); at the shoulders (two), unrecorded on two specimens. The figurines are made of a red ware; 1075, 675, 2243, 1462, 1513, 406 have a red, mostly matt slip (orange on 2243), often with a black (or dark red) and white or cream decor, generally applied to the front of the figurine. Only the larger specimens actually have the typical red slip with black and white decor, the red base 3-colour geometric. SUB-GROUP 1.1.2: EARLY CUCHIMILCOS : FOLDED ARMS, WHITE BASE 3-COLOUR GEOMETRIC AND RELATED WARES

Table 21 Plate 47 Sample: 13 figurines + 3 atypical (examined 14) 163

Measurements Height (13) Width (13) Thickness (12) Weight (10)

Maximum 39.0 cm 17.0 cm 14.0 cm over 1000 gr.

Minimum 10.5 cm 5.6 cm 3.3 cm 120 gr.

Median 16.7 cm 7.6 cm 5.7 cm 310 gr.

GROUP CHARACTERISTICS

Standing figurines, marginally less diverse and larger than in sg. 1.1.1. Head: Generally widest part of figurine (exceptions 799, 1179); the crown is rounded (bilobed on 1062, with two peaks on 799, 1179); mostly straight and flat in profile (fronto-occipital deformation), except 82 with a marked rounded profile, 799 slightly rounded. The face can be wide, foreshortened, with a straight chin (e.g. 2269), rarely more pointed (e.g. 1208); face-paint consists of zoning of the cheeks, sometimes including the eye area (note the special pattern on 794), more rarely with additional diagonal nose-to-chin lines (e.g. 794, 2269); the chin is always outlined (exception: 1324); no tear-lines. Eyes as in sg.1.1.1, circular eyes on 1179; note the painted eye-brows on 794. The shape and size of the nose varies greatly 1, but nostrils or alae are rare, though a few figurines already have the classic straight Chancay nose (e.g. 794). The mouth as in sg.1.1.1, not shown on 1207, 1221, 491; 1062 has painted teeth. Ears can be: indicated by ear-plugs (1062, 2269), nearly naturalistic (1061, 1136, 82, decorated with a painted spiral! on 1349), short, pointed tabs (1208 – 491), or missing altogether (799, 1179); 794 has wide flat spaces in lieu of ears, but bulges in both cheeks, may originally have been intended to show ear-plugs? The neck is always shown all round. Body: relatively narrow shoulders (note the stylized pointed shoulders of 794), no shoulders on 1136-1221, straight sides, fairly flat profile (e.g. 1349). Arms: molded, but often only painted, folded above the waist at right angle (six specimens), upwards (three specimens), extended downwards and joined by a continuous painted line across the chest (794); the sketchy hands (when shown) have mostly four fingers, 794, 1062 have three fingers on one hand, four on the other. Legs: completely separate (four), the rest conjoined; painted horizontal line or lines; feet as in sg.1.1.1. Genitals: All the specimen are female (not shown on 1221), with an outlined genital triangle and—on six specimens only—an indentation to mark the vulva; small nipples on seven specimens. The umbilicus is only shown on 794 (protuberance) and 799 (depression). Back: Mostly shows the neck and some modelling of the waist and buttock area. Clothing/Accessories: The most common decor of the semi-circular headdress is painted vertical stripes (eight), mostly with a plain narrow border. Exceptions: 794 with a broad border painted with squares-and-dots and a projecting perforated brim, also shown in the back; 2269 with an overall decor of dots (or small crosses) and a large horizontal band, decorated with meanders designs and painted hair? in the back; 1062, with a bilobed crown, decorated with squares-and-dots, above a relief border also shown in the back, also decorated with squares-and-dots; 1061, also bilobed? (damaged), with an overall decor of dots and probably two perforations along the edge; 799 has a plain cap with two small peaks. All the figurines show an outlined genital triangle and painted stripes across the legs. Several specimens also show extensive painted decor on the body. 794 features two large vertical lozenges with square-and-dot fillers on the chest and abdomen, and lozenges on the legs and inside the genital triangle. On 2269 we see overall dots or small crosses, as well as a vertical band down the chest, containing several identical unidentified design elements, a wide "belt" with dots and crosses and a broadly outlined genital triangle with filler elements and bird-foot motifs on the legs; 1062 has a bird (and a fish?) painted on the chest, plus small decorative elements (crosses? birds feet?) on parts of the body; 1061 has crosses (and other motifs) on the chest and legs; 1349, 799 have painted crosses inside the genital triangle. Earplugs: circular, flat, placed near the temples on 2269, 1062 . Necklace: molded and/or painted single beads on 794, 1061, 1349; painted line at the neck: 2269, 1136, 1208, 1179. 1

This is shown in my notes and sketches – unfortunately the profiles were rarely photographed! 164

Manufacture: All the figurines (where known) are mold-made and hollow. Air-holes: Six at or above the waist, four behind the upper arms, plus one also through the nostrils, two at the shoulders. The ware appears to be generally white base 3-colour geometric, with a white (pink, cream to yellow) matt slip, and black and red (purple, brown) decor, often only applied to the front. Atypical 1079: Sitting hunchback with bilobed head, flattened in profile and tilted backwards; facial features are as above, with some modelling around the mouth and traces of painted zoning on the cheeks; the squat body, showing the typical deformity of the thoracic cage, has pointed shoulders, arms folded horizontally across the chest, hands with five fingers; the short legs are stretched out forwards, the feet have five separate toes; the female genitalia are indicated by a painted genital triangle with a wide waistband, and an incised vulva; the base is large, the separation of the buttocks is indicated. The headdress is shown by a relief band, decorated with painted "squares-and-dots"; the body and arms are covered with small painted black circles on a white background, the lower part of the body is red. The figure is mold-made, hollow, with airholes at the waist. 2411: Remarkable large standing figure, incorporating all the elements of the white base 3colour geometric early Chancay style, but with a bulkier body and separately appliquéd arms. Bilobed head, wide face with molded elliptic eyes, small mouth, nose with pierced nostrils, ears suggested by flat, circular ear-plugs, zoning of the eyes and cheeks (said to be in bright red!), neck; uncommonly rotund body; thin separately molded arms, with hands resting on the waist; bulky, completely separate legs with large feet and modelled toes. Small nipples, large painted genital triangle and incised vulva. The overall painted decor incorporates typical motifs, such as "composite crosses" with central dots (on the upper part of the chest), squaresand-dot, placed diagonally on the headband and the legs, horizontal bands with meanders, across the chest, the waist, above the knees (see Pl.56, Chancay designs). The decor, in "greymauve" 1, is said to be applied in front only. No data regarding manufacture or air-holes. P496: Large standing 3-colour geometric figure, but with an unusually narrow, elongated body and lacking arms. The wide head appears slightly tilted backwards, the rounded crown is slightly flattened. The face lacks eyes, has a thin nose with nostrils, thin, modelled lips and small, semi-circular, perforated ears; facial paint, forming square rather than diagonal zoning, covers the eye area and the cheeks; in addition two sets of two thin diagonal lines are painted below the lips. The chin is straight, the neck indicated. No shoulders, narrow, elongated body, standing on two short, cylindrical, separate legs, painted with two sets of horizontal stripes; feet do not protrude, but are indicated by painted toes. No breasts, painted genital triangle, vulva? The chest is painted with diagonal "squares-and-dots", above a wide horizontal band, with large basic meanders. A headdress is indicated by a narrow, perforated brim. No data regarding manufacture or air-holes. SUB-GROUP 1.1.3: EARLY CUCHIMILCOS : FOLDED ARMS, BLACK-AND-WHITE WARE

Table 22 Plate 48 Sample: 13 figurines + 6 atypical (examined 15) Measurements Maximum Minimum Height (11) 50.0 cm 7.9 cm Width (11) 20.0 cm 6.9 cm Thickness (10) 6.5 cm 2.8 cm Weight (9) 500 gr. 50 gr.

Median 14.4 cm 7.4 cm 4.2 cm 150 gr.

GROUP CHARACTERISTICS

Although the figurines are on the whole similar to sgs. 1.1.1 and 1.1.2, we are at last definitely dealing with early Chancay specimens, many of them made in "approximations" of Chancay black-and-white ware. But only a few of the figures already suggest the classic 1

My translation from the German "Grau-Lila". 165

Chancay cuchimilco, f.i. the splendid 2262, decorated with a number of classic Chancay designs and also—for the first time—clearly showing the classic Chancay "spectacles", here still part of the "zoning" of the cheeks and eyes, but rendered in a different hue of black or brown. The head is mostly rounded to semi-circular, more flattened on 2362, SAC 257, bilobed on 59; facial features and face paint are as in sgs 1.1.1 and 1.1.2, but note the conch-like ears, with painted dots on 2262, SAC 257, 1540?; 196, 148, 196 have flap ears. The body is also basically similar to sgs. 1.1.1 and 1.1.2, fairly straight-sided, with arms folded upwards (eight) or horizontally (six) and completely separate (five) or conjoined legs (seven), all decorated with horizontal lines; hands and feet are mostly sketchy; but note the naturalistic bodies of 2262 and SAC 257. All the figurines are clearly female, with their outlined genital triangle (with a variety of painted "fillers" on several specimens) and incised vulva (exception 1363, without genitalia); small nipples only feature on four figurines, the umbilicus is rarely shown. SAC 218 has raised boils?, painted black 1. The profile and back are also as in sgs. 1.1.1, 1.1.2. Clothing/Accessories: A headdress is always worn, consisting of a cap decorated with stripes (criss-cross, vertical, diagonal) and mostly with a plain, narrow border; exceptions: 2262 with a plain crown and wide decorated border of "Chancay Interlocking", 59: no decor; SAC 218 has an unusual row of perforations beneath the crown. Body paint is always present: genital triangle (on 2262 with an "Interlocking variant with birds?", on SAC 257 with unidentified fillers), lines across the legs, on the arms; additional decor on the chest and legs (2262: stylized birds), on the chest only (SAC 257, SAC 218? both unidentified), P497 "bird's feet"; 1540 wears crossed fajas. Ear-plugs: circular, appliquéd on 148, 196; painted (with a cross) on P497, dots on 2262, SAC 257. Manufacture: All the specimens (where known) are mold-made and hollow; airholes are placed above or at the waist (five, plus one also at anus), behind the upper arms (two, plus one also under the feet), at the shoulders (one), unrecorded (three). 870, which is very heavy for its size (400 gr.) and has deep grooves along the top and sides, may have been used as a positive mold, though it has air-holes and appears to be hollow. The ware is basically Chancay blackon-white, though the actual colours come in variety of shades (yellow, reddish-brown). Atypical SAC 179: Small sitting figurine with a rounded head, facial features with large eyes, no ears, facial paint not clearly visible, folded arms and extended legs (no feet), probably female. Wears a typical classic Chancay headdress, with black crown and wide border band with criss-cross design. No data regarding manufacture. 438: Hunchback? Although the figurine has a large rounded bulge in the back, below the shoulders, as well as two smaller bulges below the waist (buttocks?), it does not show the usual deformity at the front as well; moreover it has two very short (folded?) legs, another unusual feature on early hunchback figurines. It is possible that the large bulge in the back is a load: another figurine (871/sg.1.2.3-with two sets of arms) has similar bulges in the back and is standing. Rounded crown with sharp edge, head flattened in profile, molded facial features with prominent eye-brows, hooked nose, conch-ear on right side, jutting chin; traces of facepaint. Pronounced neck, arms folded upwards, short legs, raised genital triangle with large vulva, no breasts; the lower part of the figurine sits on a narrow base. No clothing or accessories. Mold-made, with sharp edges at the sides, but solid. Traces of black-on-white decor. 1781: Classic hunchback with large hump at the back and slightly deformed rib cage at front. Head tilted backwards, with rounded crown flattened in profile, sharp edge; wide face, molded features; neck, wide shoulders, thin arms folded upwards, molded hands with four fingers; sitting, with extended legs (left leg broken), feet; painted genital triangle, incised vulva, no breasts. Mold-made, hollow, air-holes behind the upper arms, traces of black-on-white decor. 1

See Discussion – Special features. 166

2247, 2248: Two nearly identical female figurines from a private collection. The atypical features include the headdress—rectangular, very low, decorated with parallel stripes and showing two sets of two perforations—and the very angular shoulders. Other features, such as the face, with zoning of the eyes and double painted nose-to-chin lines, the ears with painted dots, the outlined genital triangle with filler motifs, such as "bird's feet", the bulky separate legs with transversal lines (on 2247 only), are common in this sub-group. The specimens appear hand-made, but are hollow, with airholes behind the upper arms; the surface decor is pale brown on cream. 1678: Although the ware can be considered "black-on-white", the figure is unusual: large, rectangular crown, flattened in profile, molded facial features with upturned mouth, unusual ears with long, slightly curving ear-lobes; two sets of parallel painted tear-lines. Long neck, wide shoulders, separate appliquéd arms, hands with incised fingers placed above the waist, conjoined legs, but with a deep, wide groove at the front and back; relief outline to the genital triangle, incised vulva, no nipples, large umbilicus placed high above waist; the back shows a relief band along the spine and at the waist. Headdress with thin molded edge (front only), necklace of three strands of large molded beads. Mold-made, hollow, air-holes above the waist and at the ears, traces of yellowy-white and grey decor. SUB-GROUP 1.1.4: EARLY CUCHIMILCOS : FOLDED ARMS, MISCELLANEOUS WARES

Table 23 Plate 49 Sample: 15 figurines + 1 atypical (examined 12) Measurements Maximum Minimum Height (14) 19.0 cm 11.4 cm Width (12) 11.0 cm 6.5 cm Thickness (14) 6.8 cm 4.8 cm Weight (7) 490 gr. 160 gr.

Median 16.5 cm 8.5 cm 5.2 cm 380 gr.

GROUP CHARACTERISTICS

Medium-sized, standing figurines. The head has a rounded crown, with a marked bilobation on 379, slightly more flattened on 1253, 1227; unusually high on 150, SAC 262, SAC 259. The profile is not always flattened, f.i. 863, 866, to a lesser degree 1344 have a fairly rounded profile, often with a flattened edge. The face varies in proportion from very wide (e.g. 379, 708) to elongated (e.g.1227, SAC 262); the molded features are as in the other sub-groups, but note the modelling of the eye-sockets (379, SAC 258), the elongated eyebrows, often rising towards the temples (e.g. 1148, C144, SAC 262); face-paint, in the form of zoning of the cheeks, is only visible on 708, 1253, 1227; the neck is not always shown (e.g. 862). The body is mostly quite narrow, shoulders are hardly shown, arms are folded horizontally above the waist (upwards on 1148 only); note the modelling linking the arms of 863 across the chest!; hands often have only three fingers (863, 862, 866, 1344, C144); legs are completely or partly separate on six specimens, conjoined on the others, with painted horizontal lines (when decorated); feet are rarely shown (1344, 1227, 2199). All the specimens are female (not indicated on SAC 259 1), genitals are shown by a raised and/or incised genital triangle (painted on SAC 258, 708, 1253, relief outline on 1227), an incised vulva is not always present; nipples are mostly shown. An umbilicus is only shown on 1227, 2199. The back generally shows the waist, some modelling of the buttocks, molded hair on 863! Clothing/accessories: All the figurines wear a headdress, nine of them decorated with stripes or a criss-cross design; horizontal stripes and two perforations at the top of C144; note the unusually high headdresses of 150, SAC 262, SAC 259. Body paint usually consists in lines across the legs (nine); 708 has a filler criss-cross design in the painted genital triangle, as well as a bird? and dots on the chest. Seven specimens wear a necklace of large molded beads. 1

Listed as male on the index card, probably because of the "important" headdress! 167

Manufacture: All the figurines (where known) are mold made, 708 is solid, 866 and 2199 appear hollow but lack air-holes; air-holes are placed behind the upper arms (six), at the neck (two), at the waist and ears (one), unrecorded (three). The most common ware has a red/terracotta or orange background (or slip), plain (two), with a decor in black (three) or white (one); less common is a background with traces of a white or cream paint, plain (two) or with a red decor (four). Atypical 170: Standing hunchback. The head has a marked bilobation and is completely flattened in profile; the face shows strong modelling of the eye-sockets and mouth area, with molded features: semi-circular eye-brows, large eyes and mouth, aquiline nose, ears suggested by flat, round ear-plugs, placed near the temples. Marked neck, wide shoulders, deformed thoracic cage, arms folded upwards, completely separate splayed legs, some modelling of the knees, feet indicated by a slight protuberance all round; raised female genital triangle, deep groove for vulva, breasts, no umbilicus. The hump, arms and waist are shown in the back. Headdress indicated by a large horizontal brim with perforations, also at the back; necklace of large molded beads. The figurine is mold-made, hollow, with airholes behind the upper arms, a grey-black slip, with traces of white. DISCUSSION (SUB-GROUPS 1.1.1 – 1.1.4) These four heterogeneous sub-groups show figurines which—although their arms are folded rather than extended—are obviously precursors of the classic black-and-white Chancay cuchimilco (sg. 1.4, see below). As there were no compelling iconographic differences between the bulk of these figurines—the larger figurines always representing one-offs—the specimens were grouped by ware types: red- and white base 3-colour geometric, black-onwhite and miscellaneous wares (white-slipped, red-on-white, black-on-red, etc.), the three former ones supposedly succeeding each other in time—or at least the two types of 3-colour geometric wares, preceding "black-on-white". So the aim of this classification was to see if any chronological depth was also reflected in the iconography and style(s) of the figurines. The 68 figurines range in size from 7.9 cm to 50.0 cm (the atypical 2411/Pl.47/sg.1.1.2 has a height of 60.0 cm), with a median height around 15.5 cm: the larger specimens are more carefully finished, with a more elaborate modelled and/or painted ornamentation. If we analyse statistically some of the features like the shape of the head: (rounded (65%), bilobed (circa 20%), or more rectangular (8%), broken (7%); the position of the arms: folded, upwards on the chest (43.5%), horizontally above the waist (50%) or extended downwards (6.5%) or the position of the legs: totally separated (43%) or conjoined along the inside (57%), we find there is no statistically significant variation, which one could link to a chronological "progression" for any of the above features between the sub-groups. To give some examples—leaving out sg 1.1.4 with miscellaneous wares which carry no chronological connotation: if we compare separate and conjoined legs, we see that separate legs go from 40% (1.1.1) to 56% (1.1.2), to 33.3% (1.1.3), whilst arms folded upwards on the chest vary from 69% (1.1.1), to 25% (1.1.2) and 57% (1.1.3). The same can also be said of the manufacture: one relevant marker could be the position of the air-holes, but in fact there is no significant difference 1 between sgs.1.1.1, 1.1.2 and 1.1.3, except for a marginal increase in the air-holes at the waist and decrease of those behind the upper arms or shoulders. Oddly only sg. 1.1.4 shows an altogether different pattern.

1

Air-holes

Waist

Sg. 1.1.1

38.5 %

Behind upper arms 46 %

Shoulders/neck 15.5 %

Sg. 1.1.2

46 %

38.5 %

15.5 %

Sg. 1.1.3

55.5 %

33.3 %

11.1 %

Sg. 1.1.4

11.1 %

66.6 %

22.2%

The percentages are calculated on the basis of known air-hole positions only. 168

So we see that although some of the variations between specimens should be due to a difference in time, there is no clear stylistic development, nor any clear correlation between styles and wares. Early in the series we find specimens—especially the larger, well-made figurines (e.g.1075/Pl.46/sg.1.1.1, 794/Pl.47/sg.1.1.2 and especially 2262/Pl.48/sg.1.1.3)— which already closely resemble the classic cuchimilco. At the same time, all the sub-groups contain some crude figurines, often with a stripy headdress, which are clearly related to Huaura figurines (cf. with Pls 32-34) or an as yet ill-defined style, more common in the Ancón area (see Chapter 7, Introduction), characterised by features such as a flattened edge to the head-dress (in profile) and the lack of face- and body-paint. Altogether many traits appear interchangeable: there is as yet no standardization. Note that the decor in all wares is often only applied to the front (except for the upper part of the headdress). Over 60 % have air-holes behind the upper arms, at the shoulders or the neck (as on late MH figurines) against 39% at or above the waist (as in classic Chancay). Special features Bilobation Over 90% of the figurines have a clear fronto-occipital cranial deformation. In addition over 20% show some form of bilobation, from large rounded lobes to a very small indentation in the center of the crown. Weiss (1962) and Reichlen (1982) describe two types of cranial deformation which can result in bilobation : • the Huaura type is achieved by a downwards flattening of the cranium. It results in large parieto-occipital protuberances and sometimes—but not always—leads to bilobation (Weiss 1962:27; Reichlen 1982:Lám.6A,B,C; Weiss and Rojas Ponce 1967-1968:figs.7-9). This form is mainly found on the Central Coast. • the Palta type (the name refers to the Palta Indians) is produced by a flattening upwards and backwards, always resulting in bilobation (Weiss 1962:Lám.4B,B1; Reichlen 1982:Lám.5ABC). The distribution area includes the North and Central Coast (Reichlen 1982:389). Most of the figurines would appear to show the Huaura deformation, but since the representations are stylized, it is difficult to differentiate between the basic deformation (resulting in lateral protuberances) and actual bilobation, presumably showing a marked incurving or indentation in the center of the crown. Only one red base 3-colour geometric specimen (675/Pl.46/sg. 1.1.1) appears to have a deformation of the Palta type. According to Weiss (1962:24) the Huaura type deformation is mainly found in the "Huaura stratum at Chancay, Ancón and Lima". At Ancón 1, skeletal material with bilobation is documented mainly from late MH/early LIP graves. Amongst the few excavated tombs from that site for which the inventories were made available to me, the percentage of bilobation on skeletal material is quite large: Tomb 105 1 (Inventario vol.? p.39), associated with a Supe figurine; three out of four skulls from Tomb 879, associated with a Supe figurine (Inventario vol. IX? p.43); Tombs 539, 534, 578, 691, 721, (Ravines 1981:118, 122, 127, 132, 142) amongst others. There are also a number of bilobed figurines (some not recorded here because of insufficient data) in the available inventories. Amongst Central Coast figurines bilobation first appears on figurines of the late Lima culture (see 1999, 696, 2135/Pl.11, 633/Pl.13). It is absent during the early Middle Horizon— indeed at Pachacamac during MH2 even the fronto-occipital deformation disappears. Bilobation reappears in the Middle Horizon ("Transitional" Group 2/Teatino/Pl.19 and Late MH Gr.3/Pl.30), but is totally absent in Supe (Late MH Gr.1); only two Huaura figurines (1521/Huaura 2.1/Pl.32, 137/Huaura 4, atypical/Pl.43) and some late MH-early LIP unaffiliated figurines (1051, 876/Unaffiliated Gr. 1/Pl.44, 1821, 1296/ Unaffiliated Gr.2) show bilobation (not to be confused with headdress projections). 1

For the tomb numbers, I use the original Ancón 1 excavations No. de campo throughout. 169

The deformation becomes more common in early Chancay cuchimilcos (sub-groups 1.1.1 to 1.1.4), where over 20% of figurines show a clear bilobation (e.g. 1075, 675/Pl.46/sg.1.1.1, 1062, 1079, 2411/Pl.47/sg.1.1.2., 2262, 59/Pl.48/sg.1.1.3, 379, 170/Pl.49/sg. 1.1.4) Bilobation becomes rarer in classic Chancay (7.5% in Chancay sg. 1.4.1), except if one takes into account the small central indentation on the large cuchimilcos (35% in sg. 1.4.2, 6% in sg. 1.4.3). It is practically non-existent in Chancay-Huaura (3%), amongst the red- and black ware cuchimilcos (3.5%, Chancay sg. 1.6) and the small Chancay-related figurines (8.5%, Chancay Gr. 6). Note also that the "attendants" with their characteristic "bicorne" headdress show strong bilobation (Chancay Gr. 4); the "lugs" of the Chancay witch (Chancay Gr. 3) could perhaps also be linked with bilobation. The rendering of bilobation on the figurines varies from a simple lateral widening (see 227 MH Gr.2/Pl.17, 538/"Transitional" MH Gr. 1/Pl. 18) to more pointed lateral protuberances (e.g. 830, 589//"Transitional" MH Gr.2 (Teatino)/Pl. 19), or highly stylized semi-circular lobes divided by a deep indentation (e.g. 1785/Late MH Gr.3-"Bird"/Pl.30). In early Chancay—besides the forms mentioned above—the most common form consists of broad, low lobes with a shallow depression between them (e.g. 1062,1079/sg. 1.1.2). Finally the large classic cuchimilcos (1.4.2) only show a minute indentation at the center of a straight crown. The distribution area of bilobed figurines is generally confined to the Ancón-Chancay area: of the 103 late MH and LIP specimens with bilobation, circa 57% have no provenance 1, 13.5 % come from Ancón, 21.5 % from Chancay, Pasamayo or Lachay, less than 4 % from the Chillón valley, the rest from other sites. Weiss and Rojas Ponce (1967-1968) have attempted an interpretation of the bilobation in the Chancay and Chimu cultures. Bilobation is common on a certain type of Chimu face-necks, associated with symbols of marine life, plants or stars, and interpreted as a divine attribute. In Chancay the associations are less obvious, although some of the bilobed figurines (e.g.1892, 1016/Pl.53/sg.1.3.2) have representations of (marine?) birds painted in their genital triangle. Note also 799, 1179/PL.47/sg.1.1.2 which—like the late MH Gr.3 bilobed zoomorphic figurines ("Cats" and "Birds")—may represent anthropomorphic animals. Another interpretation links bilobation to a specific lineage or clan. This is documented by a number of chroniclers and survived well into the colonial period (Weiss and Rojas Ponce 1967-1968:303). The fact that bilobation is only shown on some figurines and the presence of three bilobed skulls in the same tomb (see above) would corroborate such an explanation. More work on skeletal remains is necessary to shed light on this particular form of cranial deformation. Note that five early Chancay figurines do not have the common fronto-occipital deformation. Three of these (103/Pl.46/sg.1.1.1, 82/Pl.47/sg. 1.1.2, 59/ Pl.48/sg.1.1.3) also share a rather unusual elongated body-shape and may be early forms of the anthropomorphic Chancay "monkey" (Chancay 7). Hands with three fingers This is a recurrent theme in Peruvian iconography, either as three fingers with offset thumb (in Tiahuanaco and Wari iconography especially) or without the thumb, in which case it is thought to be linked with bird symbolism. Hands with three fingers first appear on Central Coast figurines during the Epiformative and EIP (see 815/Pl.8, 804/Pl.9, 633, P466/Pl.13) and become more common later, especially amongst late MH-early LIP unaffiliated figurines, disappearing from classic Chancay onwards. They are also common in the LIP of the South Coast (Vol. II: LIP to LH Type A figurines, Pls. 39-46), but otherwise rare. Hunchbacks Seven hunchbacks are found amongst early Chancay cuchimilcos (sgs. 1.1-1.3), not including 438/1.1.3, 871/1.2.3, both atypical, and 234/1.3.3, which may or may not be hunchbacks; some also occur in early Ancón, in Huaura Gr. 2, amongst classic Chancay cuchimilcos (1.4.1), late Chancay blackware cuchimilcos (1.6.2) and in Chancay Group 2. In 1

Sites of all ratings (from certain to unverifiable) are included. 170

Group 3 (the Chancay "Witch") a deformed—mostly rounded—back, is one of the characteristics which defines that complex personage. According to Cabieses (1974: vol. II, p.77) this deformity (resulting in a projecting back, and often also chest) was the result of tuberculosis of the spine; the bacillus itself has been isolated in a mummy. The recurrent representation must have had a specific significance. In pre-Columbian America hunchbacks are generally considered as possessing special powers, which can be malevolent or beneficial (Linné 1943; Barbour 1977: 24). They were excluded from purification rites (Hocquenghem 1979: 221, 227). Acosta (1954/1590: 168f) relates their role in ritual flagellations. Other special features : The red base 3-colour geometric head fragment 541/Pl.46/sg.1.1.1 has unusual eye-appendages, inspired by the MH "feather" motif, also shown on the headdress of 1075/ Pl.46/sg.1.1.1). 1062/Pl.47/sg. 1.1.2 with a bird and a fish painted on its chest, is seen by Rostworowski (1973) as Urpayhuachac, the goddess of fishermen, provider of fish and linked with marine birds 1. The black-on-white SAC 218/Pl.48/sg. 1.1.3 appears to have pustules (molded, painted black) on its chest. This may be the representation of a severe rash or "veruga". For a similar rendering of this disease see Cabieses 1974: vol. II, pp.80-82. 870/Pl.48/sg.1.1.3 has a deep groove running along the join of the front and back pieces (including on top of the head and under the feet). This can usually be seen on positive molds, which are used as a matrix to produce the negative mold. But this figurine appears hollow and is painted, so we cannot be sure whether it is a positive mold or not. 675/ Pl.46/sg.1.1.1, 794 and the atypical P496/ Pl.47/sg. 1.1.2, the atypical 170/ Pl.49/ sg. 1.1.4 have a perforated brim to their headdress. This very unusual feature also occurs on 222/ Pl.55/sg.1.3.4. Links with other groups The connection with Huaura Gr. 2 is undeniable (see Chapter 8, Introduction, regarding the Huaura-Chancay relationship) and arguably some of the specimens could belong to either culture. Similarities include air-holes often placed behind the upper arms, painted decor in front only. A head-dress with vertical stripes, a large bead necklace (though here often painted rather than molded), zoning of the cheeks, painted horizontal lines across the legs and a painted genital triangle are also fairly common. But Huaura traits such as circular eyes, tearmarks, pointed tab ears all but disappear, whilst bilobation, arms folded upwards, hands with three fingers become more common in early Chancay. Above all there are changes announcing classic Chancay: a head with a lower crown, specific facial traits such as molded eye-sockets and/or eyebrows, elliptic eyes, larger ears, a larger genital triangle, modelled buttocks, the use of black-on-white pottery and a gradual shift of the air-holes towards the waist. An interesting rare trait is the continuous line linking the arms across the chest on four figurines (675/Pl.46/sg.1.1.1, 794/Pl.47/sg.1.1.2, 870/Pl.48/sg,1.1.3, 863/Pl.49/sg.1.1.4): this occurs in Huaura sg.2.1 as well as in late MH North Coast figurines (see Huaura Gr.2, Discussion). The influence of a sub-style from the Ancón area, felt on Huaura figurines, is also perceptible here, especially on white-on-red figurines (Chancay sg.1.1.4): small, raised genital triangle— not outlined in paint!—large beads, stripy headdress flattened along the edges (866, 1344/Pl.49), molded hair at the back (863). But the shape, notably of 863 and 862, the raised arms and three fingers are marginally more typical for early Chancay. Other candidates for the Ancón sub-style are 409, 1015/Pl.46/sg.1.1.1, but they too fit better into early Chancay than into Huaura or the Unaffiliated figurines (Chapter 8). 1

See also Chancay-Huaura sub-group 1.5.2a, Special features. 171

Context The seven specimens (1075, P.7276/sg.1.1.1-870/sg.1.1.3-863, 866, 862, 1148/sg.1.1.4) with certain provenances come from graves, three from child burials, two from women burials. C 144a/sg. 1.1.4, found in a workbasket, which was probably also retrieved form a grave, with several other items, including two other figurines 1: C 144b/Pl.51 is a hunchback, with a completely rounded head, reminiscent of the Chancay Witch (Gr.3), but lacks the typical lugs on top of the head; it also appears to have folded arms, as well as a broken extended? arm, so it has been included in Chancay sg. 1.2.4 (Pl.51), with two sets of arms. The other figurine, C 144c, a unique specimen, has been included in Chancay Gr.5 (see Pl.93). Geographic distribution Chancay 1.1.1 Certain Fairly reliable Unverifiable Chancay 1.1.2 Certain Fairly reliable Unverifiable Chancay 1.1.3 Certain Fairly reliable Unverifiable Chancay 1.1.4 Certain Fairly reliable Unverifiable

Huaura Valley

Chancay Valley

1

2 1

1 1

2

3 3

1

1

Ancón 3

Chillón Valley 1

Others

1 (Pachacamac)

1 2 3

1 1

1

1 (Chincha) 1 (Near Lima)

Only 32 figurines (47%) have provenances. Of the 20 certain or fairly reliable provenances five are from Huaura, six from Chancay, seven from Ancón (all the latter certain). Only two fairy reliable provenance are from the Chillón Valley:1512/Pl.46/sg 1.1.1 and 1344/ Pl.49/sg.1.1.4 said to come from Marquez, were acquired by Uhle from huaqueros (see Appendix 1); judging from their style, they are unlikely to originate there: both are closely related to the Ancón sub-style. 708/Pl.49/sg. 1.1.4 is said to come from Chincha, which is not impossible (see Appendix 1/MRI), the specimen being so unusual. One figurine (406/Pl.46/sg. 1.1.1), is said to come from Pachacamac. Like 1513/Pl.46, similar but without provenance, it has a large head, with an emphasised edge to the headdress and a tubular body, similar to other figurines from the Huaura-Chancay-Ancón area, whilst the multi-row necklace a reminiscent of Chimu figurines. It is unlike any Ychsma figurine, so it is possible that it was found at Pachacamac, but not manufactured there. Chronology : after Sub-group 1.3.

SUB-GROUP 1.2: EARLY CHANCAY CUCHIMILCOS WITH TWO SETS OF ARMS SUB-GROUPS 1.2.2 2 - 1.2.4: WHITE BASE 3-COLOUR GEOMETRIC, BLACK-ON-WHITE, MISCELLANEOUS WARES

The figurines in the three sub-groups are similar enough to be described jointly Table 24 Plates 50, 51 Sample: 27 figurines + 5 atypical – examined 25

See Gravelots for Chancay sg. 1.1 (Appendix 3) and Pl. G7. There is no sub-group 1.2.1 (red base 3-colour geometric), but the numbering starts with 1.2.2 to keep the sub-groups in line with sub-groups 1.1 and 1.3. 1 2

172

Measurements 1 Height (26) Width (11) Thickness (19) Weight (7)

Maximum 22.0 cm 16.9 cm 7.7 cm 630 gr.

Minimum 9.0 cm 6.0 cm 2.5 cm 70 gr.

Median 16.0 cm 10.7 cm 4.5 cm 490 gr.

GROUP CHARACTERISTICS

Because of the absence of large, one-off figurines, the specimens in this sub-group are more homogenous than in sub-group 1.1. The head represents circa one third of the total height, always with a semi-circular crown; 1350, 378/Pl.50/sg.1.2.2 show a marked bilobation, 394/Pl.50/sg.1.2.3 and C 145/Pl.51/sg. 1.2.4 have small indentations only; straight profile indicating fronto-occipital deformation. The face is generally wide, with minimal modelling; face-paint (overall or part-zoning of the eyes and cheeks) occurs on all the 3colour and black-on-white figurines (sgs. 1.2.2 and 1.2.3), but is absent in sg. 1.2.4. Eyebrows are nearly always important, moulded, arched or straight, elongated . Note the elongated, often joined eyebrows (e.g. 341/PL.50/1.2.2, 1353/Pl.51/1.2.4). Eyes: Elliptic, often very large, with molded lids and eyeballs, traces of paint. Note the nearly horizontal, parallel lids of 164/Pl.51/sg.1.2.4. Nose: Chipped on over 60 %; otherwise various shapes, mostly small, nostrils or alae very rare. Mouth: small, with straight moulded lips, incised (e.g. 164/Pl.51/sg.1.2.4) or absent (e.g. 661, 341/Pl.50/sg. 1.2.2, 1353/Pl.51/sg. 1.2.4). Ears: nearly a third have no ears (e.g. 661, 1810/Pl.50/sg.1.2.2, 387, 1131/Pl.51/sg.1.2.4), often they are only indicated by a protuberance within the headdress (e.g. 1026, 820/Pl.50/sg.1.2.2), the rest vary from large semi-circular flaps (e.g. 341/Pl.50/sg.1.2.2, 1353/Pl.51/sg. 1.2.4), to smaller, conch-like ears (e.g.378/Pl.50/sg. 1.2.2, C 145/Pl.51/sg. 1.2.4): these are mostly perforated. The chin is often jutting, outlined on most 3-colour and black-on-white ones (unclear); tends to be thickened on sg.1.2.4 figurines (e.g. 1353, 1782). Neck: Generally shown at the front and back, but not always at the sides. Body: Wide at the outstretched arms, but otherwise fairly narrow, with a straight lateral outline and profile. Arms: Each figurine has two sets of arms, one folded, one outstretched: the folded arms are always folded upwards, unless placed very high on the chest (e.g. 342, 1810/Pl.50/sg.1.2.2, 1353, 1782, 1131, 881/Pl.51/sg.1.2.4); hands are not shown on over half of the folded arms, the rest have three or four fingers, sometimes a different number on each hand. The outstretched arms (both arms are broken off on nine specimens, one arm is broken on nine specimens) are always extended sideways and upwards; on seven specimens the outstretched arms start at the waist or just above (e.g. 341/Pl.50/sg. 1.2.2, 1782/Pl.51/sg. 1.2.4, mostly straight (e.g. 341/Pl.50/sg.1.2.2), rarely slightly bent (e.g. 225/Pl.50/sg.1.2.2).Twelve specimens have normally placed outstretched arms, always slightly bent, with marked elbows. The straight outstretched arms never have hands, they end in a rounded tip (e.g.1782/Pl.51/sg. 1.2.4); the bent outstretched arms end in small, circular, concave "hands": only C 145/Pl.51/sg. 1.2.4 has incised fingers. Legs: Straight, or slightly wider at the bottom; joined down the middle (72 %) or separated. Horizontal stripes are painted on the legs of all 3-colour and black-on-white figurines. Feet occasionally protrude slightly, but mostly are not shown. Genitals: The figurines are female (the genitals are not shown on two specimens). All the 3colour and black-on-white specimens have large painted (often also incised) genital triangles; the rest have smaller incised or only raised genital triangles; but the vulva is rarely shown (as a shallow wide depression). Breasts: Over 50 % have small nipples, placed very high. A small umbilicus is shown on eight figurines. Back: Over 50% show some modelling of the neck, waist and buttocks, the rest are plain. P498/Pl.50/sg.1.2.2 is probably a hunchback. Clothing and accessories: Headdress: worn by all the specimens, semi-circular, of medium height; the top can show a small indentation/bilobation (1350, 378, 1026?/Pl.50/sg.1.2.2, 394/Pl.50/sg.1.2.3) and/or perforations (seven specimens). On 3-colour geometric and blackon-white figurines, the crown can be plain, (ca 70 %) or have vertical or horizontal stripes or a There are very few measurements for the width and weight, because the extended arms are often broken.

1

173

criss-cross design (e.g. 1026, 1810, 342). It is always edged by a wide border-band, plain (e.g. 394/Pl.50/sg.1.2.3) or with a painted decor of square-and-dot design (661/Pl.50/sg.1.2.2), crosses (225/Pl.50/sg.1.2.2), broken-lines, with or without dots (e.g. 1026/Pl.50/sg.1.2.2) or meanders (820/Pl.50/sg.1.2.2). Most 1.2.4 head-dresses are plain, often with a flattened edge in profile, except 881, with diagonal stripes. Body-paint: painted genital triangle and horizontal lines across the legs are only shown on 1.2.2 and 1.2.3 figurines (no body-paint on 341/Pl.50/sg.1.2.2). Necklace: 225, 1026, 1810/Pl.50/sg.1.2.2, 394/Pl.50/sg.1.2.3 wear one row of large beads; two or three specimens (e.g.820/Pl.50/sg.1.2.2) have a painted line around the neck. Ear-plugs: shown as smaller circular protuberances on 1026/Pl.50/sg.1.2.2 or large, circular with painted cross-and-dot design on a white background (not visible on photograph) on 243/Pl.51/sg.1.2.4. Manufacture: All the figurines are mold-made and all but three (and two atypical specimens) are hollow, with airholes at, above or below the waist. The wares are white base 3-colour geometric, black-on-white, and the typical Ancón ware with a thin white slip, sometimes with red decor, but no red-base 3-colour geometric. Atypical (all Pl.51/sg. 1.2.4 ) 871: Squat hunchback with a rounded head slightly tilted backwards (no headdress? note the sharp edges); the large round face shows some modelling around the mouth, molded features, semi-circular ears placed high on the head; the body shows the typical humps at the front and back; one set of short arms is folded horizontally above the waist and has large molded hands, the extended set (damaged) starts at waist level; very short legs, large feet—it is not clear whether the figure is standing or sitting; molded genital triangle and vulva; large buttocks shown in the back. No clothes or accessories. Hollow, with airholes at the waist, terracotta ware. C 144b/1.2.4 : Small hunchback only known from a photograph in profile. Appears to have a broken left arm, in addition to arms folded over the chest? Extremely rounded head, especially in profile, no headdress, large eyes and ears, prominent genital area, joined legs, large fairly pointed hump in the back only. Wears a necklace of large beads. Appears mold-made (joins visible at the sides) and hollow, with airholes through the ears? Was found in a workbasket, together with two other figurines (C 144a/Pl. 49/sg. 1.1.4 and C144c/Pl. 93/Gr.5). P595 (not illustrated, see Jijón y Caamaño 1949: Fig.63a, b) appears to be double-armed and is a hunchback, with projecting humps at the front and back. Rounded head, also in profile, and molded facial features. Straight-sided body, left folded arm and hand visible, left extended arm broken, right one with large hand and incised fingers. Completely separate legs, clump feet. Molded genital triangle, incised vulva; no visible breasts; large umbilicus. No data regarding size, ware. Appears hollow with air-holes at waist. The following three figurines are included here because they have the two sets of arms, but are probably later: 340: Standing hunchback. Narrow, elongated head, with molded naturalistic features and large conch-like ears. Narrow body, with typical humps at the front and back; one set of arms folded above the waist, hands with incised fingers, the extended arms (broken) starting at the shoulders; conjoined legs, small feet, raised genital triangle, umbilicus. Tall bilobed headdress with two perforations, a press-molded border of dots, and lateral appendages ending in tassels, framing the face. The ware, showing a white slip and traces of red is classified as black-onwhite by Kaulicke (1983: Abb. 64.7,8) and 3-colour geometric by Haas (1986: no.114). It is in fact typical for the Ancón sub-style. 1238: Very large, heavy figure. Large head with unadorned rectangular headdress, face with straight elongated eyebrows, large rectangular ears, pointed, jutting chin. Straight-sided body, folded arms placed above the waist, molded hands with four fingers; note that the "extended arms" are reduced to the hands with incised fingers. The legs are completely separated, small feet. The specimen appears mold-made, with visible joins along the sides, and airholes at the ears, but could be solid, considering its weight (3.1 kg.); the surface is smoothed and buff in colour. 174

DISCUSSION (SUB-GROUPS 1.2.2 – 1.2.4)

Because of the absence of large, one-off figurines, the 32 specimens in sub-group 1.2 are more homogenous than in sub-group 1.1. They are generally smaller: their size goes from 22.0 to 9.0 cm (the atypical 1238 measures 38.0 cm), with a median size of 16.0 cm, and are often less well made. The main difference lies in the double set of arms, one folded on the chest, the other extended sideways. Other differences are: changes in the headdress (fewer show vertical stripes, fewer specimens have bilobation, perforations are more common), lack of body-paint in sg. 1.2.4, fewer large bead necklaces. There is now a greater similarity between some of the 3-colour and black-on-white specimens (compare 820/sg. 1.2.2 with 394/sg.1.2.3), whilst the miscellaneous ware figurines are different. Figurines showing a clear Huaura influence have all but disappeared. Note that all the hollow figurines have air-holes in the waist area (at, above or below). A specific Ancón variant includes figurines with long straight eye-brows, large ears, arms folded high on the chest and extended arms starting at waist level (341, 342/1.2.2; 871, 1353/1.2.3; see also 1.3). Special features Figurines with two sets of arms, one folded, the other extended are specific to the Central Coast and in particular to Chancay, though they also occur in the Huaura style (see Huaura 2.2.1). They first appear at the very end of the MH and although there are isolated specimens in classic or late Chancay (410/Pl.85/sg. 2.3), the majority are confined to the early phases of the Late Intermediate. They appear to mark a transitional stage, after which extended arms become the absolute norm for Chancay, though possibly not for Huaura. At Ancón, where early Chancay figurines with double arms are fairly common, followed by Chancay figurines with extended arms only, the Late Horizon sees the reappearance of figurines with folded arms. The appearance of extended arms in the Huaura and Chancay cultures might be linked with a rejection of the religious dominance of Pachacamac in the Norte Chico, in relation with the local creation myths 1. It has been suggested that the second, extended pair of arms represents wings: it is true that in the majority of cases the extended arms either have no hands or the hands are sketchy, slightly convex, with no fingers; in addition hands of the folded arms with only three fingers, have been interpreted as a bird characteristic. Carrión Cachot (1951) identifies the typical Chancay female—her extended arms seen as wings—with an ornithomorphic Moon Goddess. I cannot go along with this interpretation because in classic Chancay the extended arms are definitely shown as arms, with fairly realistic hands and fingers: they correspond much more to the orante position (transl. "worshipper"), described by Acosta (1954/1590: 144): "...El modo de hacerle oración al Viracocha...y a las demás guacas y ídolos, era de Fig. 35 abrir las manos, y hacer cierto sonido con los labios..". One figurine with double arms (1329/Pl. 51/sg.1.2.4) was found attached to a cane litter (fig. 35), by means of a thick, twisted rope made of "plaited cane". The catalogue entry reads: "represents a burial form" (my translation). Burials on cane litters are well documented for the late MH/early LIP on the Central Coast (see Chapter 12: Litters). Regarding the atypical hunchback 340/Pl.51/1.2.4, Reiss and Stübel (1880-87: vol. III, caption to fig.7,8) write that it is not, as commonly believed, a hunchback: "...it is really an Indian bearing a load in the native way wrapped in a cloth, whose corners knotted over the breast he holds fast in both hands..." Considering the very pointed hump on this figurine and the way loads are carried with a tump-line on other Chancay figures (see Chancay Gr. 2), I think this figure is indeed a hunchback.

1

See Chapter 8, Huaura Gr. 2 – Discussion and this chapter under Group 2. 175

Context More than ten specimens (including those excavated by Reiss and Stübel) probably come from graves, mostly at Ancón, but there is are only two documented gravelots (for P.11055, from Ancón 1-T. 852 and P595 from Maranga), though without data about the burials themselves. The two workbaskets containing C145a and C145b/Pl.100/LIP Unaffiliated, and C144b, found with C144a/Pl.49/sg.1.1.4 and C 144c/Pl.96/Gr.5 were probably also found in graves, considering their state of preservation (see Appendix 3, Gravelots). Geographic distribution Chancay 1.2.2 Certain Fairly reliable Unverifiable Chancay 1.2.3 Certain Fairly reliable

Unverifiable

Chancay 1.2.4 Certain Fairly reliable Unverifiable

Huaura Valley

1? Huaura Valley

Chancay Valley

Ancón

Chillón Valley

Rimac

4

1 Chancay Valley

3

Ancón

1? Chillón Valley

Rimac

4 3 1

1

1 (Pachacamac)

1

1 "near Lima"

Of the 15 certain or fairly reliable provenances, eleven (over 73%) are from Ancón, only one from Chancay, perhaps showing that this type is more closely linked with the Ancón substyle, though one must not forget that Ancón is the most excavated site in this section of the Central Coast; none come from the Huaura or Chillón valleys. Three figurines have certain provenances for the lower Rimac valley. Amongst them: the 3colour geometric 1580/Pl.50/sg.1.2.2 was excavated by Kroeber at Huaca 15/AramburuMaranga. The catalogue entry reads "from upper levels, caved in, above 2.8m". These are probably the "clearing excavations" to reach the Proto-Lima (e.g. Lima, Nievería) levels (Kroeber 1954:11): these strata contained LIP and LH burials. Unfortunately Kroeber left no record of—amongst others—the 71 late mummies removed from these levels! Another figurine in the same ware (1026/Pl.50/sg.1.2.2) was excavated by the MNAA at Macatambo (or Makatampu), a large huaca situated in block 27 of the Avenida Argentina, now totally destroyed. The site is dated to the late EIP Lima/Maranga cultures, but with many intrusive LIP burials. The black-on-white 820/Pl.50/sg. 1.2.3 was amongst ceramics looted from Cerro Mulerias, a site located opposite Garagay, in the lower Rimac Valley. According to J. Palacios (pers. comm.) this was mainly a LH cemetery, but he also saw a few vessels related to Chancay amongst the looted material from the site. In spite of their provenance from the Rimac Valley, these are undoubtedly Chancay figurines. Chronology: see below, after sg. 1.3.

SUB-GROUP 1.3: EARLY CHANCAY CUCHIMILCOS WITH EXTENDED ARMS Many of the 53 figurines in sub-group 1.3 are obvious predecessors of the classic Chancay cuchimilco, especially in their overall shape, with extended arms, the typical rectangular headdress and air-holes at the waist. However they are either made in an earlier ware (like 3colour geometric), or they still have decorative elements which have disappeared in classic Chancay, such as overall body-paint or lines painted across the legs. Along with them we find a large number of specimens which—although they have Chancay cuchimilco features, like extended arms and mostly also air-holes at the waist— are obviously not direct predecessors of the classic Chancay cuchimilco, but rather belong to several contemporary local sub-styles, sharing a common origin or influenced by Chancay: many of them are border-line cases. Until such styles have been more clearly defined, we thought it best to group these figurines here, under their different wares.

176

SUB-GROUP 1.3.1: EARLY CHANCAY CUCHIMILCOS WITH EXTENDED ARMS: RED BASE 3-COLOUR GEOMETRIC AND RELATED WARES

Table 25 Plate 52 Sample: 3 figurines (examined all) Measurements: The height varies between 36 cm and 20 cm. DESCRIPTION: Three totally different specimens. All have a head with a rounded crown (headdress), but different in height, all three flattened in profile. The face is minimally wider than long, lacking modelling, but with elaborate face-paint on 674 (including tear-lines or eyelashes? below the eyes, stepped diagonal nose-to-chin lines, a line above the chin) whereas 1281 and 1213 only have tear-lines (four on each cheek!); elongated molded eyebrows (or edge of headdress?) on 1281, large molded eyebrows on 1213; the eyes are elliptic to oval, with molded lids and eye-balls painted in a contrasting colour, hooked nose with alae and nostrils (674), chipped (1281), nostrils only (1213); mouth with molded lips, painted teeth (674); large semi-circular convex ears, painted white (1213); rounded chin, slightly jutting (674, 1213); short neck. Straight-sided body, flat in profile. 674 has prominent shoulders, the others narrower ones, 674 and 1213 have modelled pendant breasts with nipples. The unusual arms are completely different: on 674 they are close to the body, the lower arms extended forwards, with convex palms turned upwards and five painted pointed fingers; 1281 has short arms held close to the upper body (also modelled in the back), the lower arms turned outwards, the hands now broken off; on 1213 the short arms are raised forward, with convex palms and five incised fingers; 674, 1281 have fairly long "separate" legs conjoined along the inside, with slightly protruding knees and feet with painted toes (pointed on 674), 1213 has shorter separate legs, very short feet, no toes. All are female, with a painted genital triangle; 674 and 1281 have a slit vulva (outlined in paint on 674), no vulva on 1213. Umbilicus on 1213 only. Back: Vertical depression and some modelling of the buttocks (674), no features on the others. Clothing, accessories: Elaborate headdress: 674: diagonal stripes with complex designs, above two rows of horizontal bands, one with a meander-and-step motif, possibly derived from "Chancay Interlocking", the other with circles, flattened edge; flattened edge only (1281); low crown and horizontal band with white painted meander motif (1213); no perforations through the headdress. 674 has elaborate body-paint on the chest, including a "cross motif", the arms (circles), genital triangle (dots) and upper legs ("bird-feet"), as well as two horizontal bands at and below the waist and two horizontal bands across each leg, outlined in contrasting colours and decorated with circles; no body paint on 1281, 1213. 674 has a necklace rendered by a white painted line, 1281 and 1213 have three rows of small, molded beads. Manufacture: All three specimens are mold-made, (674 possibly has its forearms made separately) and are hollow, 674 and 1281 with airholes behind and at the upper arms respectively, 1213 at the waist. The ware is red base 3-colour geometric, with a darker or lighter orange to terracotta background and black or brown and white or cream decor. SUB-GROUP 1.3.2: EARLY CHANCAY CUCHIMILCOS WITH EXTENDED ARMS: WHITE BASE 3-COLOUR GEOMETRIC AND RELATED WARES

Table 25 Plates 52, 53 Sample: 17 figurines (examined 15) Measurements Maximum Height (14) 65.0 cm Width (10) 32.0 cm Thickness (11) 14.0 cm Weight (3) 900 gr.

Minimum 15.0 cm 11.7 cm 3.8 cm 480 gr.

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Median 25.0 cm 17.9 cm 7.0 cm --

GROUP CHARACTERISTICS

Sub-group 1.3.2 can be divided into several groupings: a first one of five large very diverse figures (P502-1448, with P486 slightly different), followed by a fairly homogenous grouping (1749-2157) and two further ones showing other influences (53-1536, 1019-594). Specimens in the first grouping (see Pl. 52) have a relatively small head with a slightly flattened to rounded crown (bilobed on 1448), flat in profile; the face (proportions: normal to widened) shows a variety of face paint, mainly zoning of the cheeks; the features (eyes, nose, mouth) are fairly standard, ears are large, naturalistic, the chin and neck vary. The body is tapering downwards or straight-sided, (elongated in proportion on P50)2, the arms, folded at the elbows, are raised upwards (broken on 77, P486), hands are concave, with five incised fingers; the completely separate legs are short, cylindrical (P502, 77) or longer, with some modelling (2264, 1448), feet vary from very short (P502, 77) to realistic (2264) or stylized, with off-set big toes (1448). All are females, with an outlined genital triangle and incised vulva; molded and/or painted nipples; umbilicus on 2264 only. Some modelling of the buttocks in the back. Clothing, accessories: The relatively low headdress is generally plain (vertical and diagonal stripes on P486) and has different borders (narrow relief on P486): meanders (P502, P486?), complex, unusual designs (77, 2264 1), plain (1448). Clothing or body-paint : P502 has bands with plain meander designs – three vertical ones on the chest, a belt and bands around the wrists and ankles; 77 has a band with "meander-and-step" design, topped by a "bird" freeze; 1448 has a tunic decorated with "bird's feet", P486 has three zones across the chest and the abdomen, each with different filler elements, including squares, and simple or composite crosses; 2264 has simple crosses as fillers in the genital triangle only; all have composite lines across the legs. The second grouping (1749-2157, see Pl. 53) is homogenous, showing clear predecessors to the classic Chancay cuchimilco. The top of the head has a near rectangular outline, with a slight bilobation on four figurines, flattened in profile. The foreshortened face shows elaborate face-paint, with zoning of the eyes and/or cheeks, but now with additional motifs inside or below the zoning, precursors of the classic Chancay decor of the lower cheeks, and already showing the Chancay "specs" joined across the top of the nose; the nicely molded features are already classic Chancay, especially the fine nose with nostrils and alae; the ears are circular, concave; painted line around the chin. The body is short and stocky, slightly tapering towards the legs; the short arms, (with or without elbows) are raised laterally, ending in circular, concave hands, with or without four or five incised fingers; the legs vary in length and shape, they are completely separate on four specimens, conjoined on three, feet also vary and can have molded toes (e.g.598). All the specimens are female, with outlined genital triangles and vulva; all have small nipples; over half have an umbilicus. The back often shows the headdress (painted and/or a relief border), as well as some modelling of the waist and buttocks. Clothing, accessories: Chancay-type headdress, with a black crown above a horizontal band (in relief, except on 2157), decorated with a variety of designs: "Interlocking" (1749, 1892, 2249, 100), "Broken lines" (598), "Broken lines with circles" (2157), "squares with circles" (1016); many with perforations through the top : three (1749, 598, 100), six in two sets of three (2157). Body-paint of small motifs ("bird's feet", crosses, dots) covering the chest, abdomen, upper legs2, 1892 has a frieze of birds painted inside the genital triangle (see Pl.56); the more important figurines also have vertical and/or horizontal painted fajas (1749: "Chancay Interlocking", 1892 "meanders-and-steps" with bird border). All have lines apinted across the legs. The stylized circular ears, often with painted dots, probably indicate earplugs; 598, 100 have a necklace of one row of molded beads, the painted line around the neck may represent a necklace or the edge of the tunic. A third grouping includes three specimens: 53 and 527 with a large semi-circular headdress, encompassing the ears (or ear-plugs), with criss-cross decor above a plain horizontal band (in relief on 527), Chancay facial features, 53 with extensive "zoning", 1 2

A similar though not identical design appears on 1016/1.3.2/Pl.53 – see also Chancay Designs, Pl.56 To judge from the remaining decoration on the right leg, 598 was also originally painted all over. 178

leaving only the mouth-chin triangle uncovered, 527 similar, but with only two diagonal noseto-chin lines; both have an outlined chin. Their bodies are similar, squat, with short arms extended sideways, concave hands with incised fingers, conjoined legs with large feet and incised toes, outlined genital triangles, painted lines across the arms and legs. 1536 has a smaller headdress with top perforations and protruding circular ears, face-paint on the cheeks only, broader arms and legs lacking incised fingers and toes, an outlined genital triangle and small nipples, an umbilicus; painted lines across the legs are faintly visible?, as well an incised necklace. A fourth grouping contains two specimens with a bilobed head, but otherwise quite different: 1019 has two short lobes, decorated with vertical stripes, a face with zoning of the eye-area, outlining of the chin, ears inscribed in the outline of the head, which is narrow in profile, but strongly leaning backwards; the body lacks shoulders, the small left arm is lifted upwards from the elbow, flat hand, five incised fingers, completely separate legs, small feet, no toes; body decorated with large dots, outlined genital triangle, no breasts, painted lines across legs, painted line below neck. 594 has a headdress with larger, more pointed, perforated "lobes", above a horizontal relief and painted band, also shown at the back; zoning of the eyes and cheeks, outlined chin, ears inscribed inside outline of the head; very short arms, extended sideways with "emphasized" elbows, circular concave hands, no fingers; outlined genital triangle, painted nipples, painted lines across the legs. Manufacture: The larger specimens (in grouping 1) are probably mold-made in separate parts and hand-assembled; note that there are no visible joins when looking—through the broken leg—inside the apparently mold-made 1749 (grouping 2). In the more typical second grouping all the ai-rholes are in the waist area, two specimens have airholes behind the upper arms; the ware is 3-colour geometric, with black (or brown) and red or purple decor on a white (or cream, yellow, buff) background. SUB-GROUP 1.3.3: EARLY CHANCAY CUCHIMILCOS WITH EXTENDED ARMS: BLACK-AND-WHITE WARE

Table 26 Plate 54 Sample: 14 figurines + 1 atypical (examined 11) Measurements Maximum Minimum Height (11) 53.5 cm 9.5 cm Width (8) 27.0 cm 10.9 cm Thickness (9) 7.5 cm 4.7 cm Weight (5) 550 gr. 360 gr.

Median 19.1 cm 16.0 cm 5.5 cm 360 gr.

GROUP CHARACTERISTICS

Surprisingly, this black-on-white sub-group is very diverse, with only SAC 247, 956 and 2426 closely related to the classic cuchimilco. Several figurines (1798 – 1802) are more reminiscent of Huaura. The shape of the head is generally rounded, except for 234, 1250, 2412: bilobed, with perforations; all, except 234, are flat in profile. The shape of the face varies from normal to elongated (1802) or foreshortened (358); face-paint shows a variety of zoning (eyes and cheeks, leaving a white triangle around the mouth (e.g. 2275, 956, 1254, 2412, etc); SAC 247, 2426 already have the classic Chancay "specs" and lower cheek decor; some specimens have no face-paint (358, 165), several specimens have a painted line around the chin. Facial features are standard, ears are fairly large, concave, semi-circular to circular (more elongated on 2217, 165), either protruding at the sides (e.g. 1254) or "inscribed" in the headdress (956, 2426, 358). The shape of the body varies greatly from broad and squat to more elongated, the arms also vary from very short (2275), to short, thick (e.g. 956), occasionally showing the elbows (SAC 247, 1798) and are more often extended sideways (e.g. 956) than raised upwards (e.g. 1798); hands go from large, with incised fingers, to small, without fingers (cf. 2426 with SAC 364). Legs are completely separate on four specimens, conjoined, with a deep separation on the others, completely joined on 234. All (except 234) are female, with a painted genital triangle (raised only on 165, SAC 364) and incised vulva;

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small nipples are visible on most specimens (larger, pendulous breasts on SAC 364). The back is generally plain; exceptions: 165 shows molded beads, 234 has a hump high up on the back. Clothing, accessories: Great variety in the headdress shape and decor: only SAC 247, 956 2426 and to a lesser degree 2275, 358, 165 have a Chancay-type headdress, with border band: 2275: "squares-and-crosses", SAC 247 "meander-and-step", 358 "broken lines-and-dots" and three top perforations, 2426 "broken lines" bird fillers and four perforations; note the relief border (below de painted one) on 2426. 2412, 1256, 1254 have a headdress decor of vertical lines, 1802 diagonal lines (the three latter ones with dot fillers), 1798 a criss-cross decor. Body-paint: only 2275 has an overall painted decor of crosses, as well as vertical and horizontal fajas with "meander-and-step" and "bird frieze" decor; SAC 247, 956, 2412 have a decor of dots on their chest, 1798 has a cross in the genital triangle; 2275 to 1802 and 2412 have an outlined genital triangle, most have lines painted across the legs (exception:1802; not visible on 358, 234 probably due to damage). Earplugs: Circular ears as on SAC 247, 956, 1798 probably represent earplugs. Necklace of molded beads: 1798, 1254 three rows; SAC 247, 956, 165 (also at back) one row; 234, 1250 not clear; painted line: 2275. Manufacture: All the figurines are mold-made and hollow and all of them have two airholes above, behind, but mainly at the waist. The ware is black-on-white, but not yet the classic Chancay ware: the basic slip is often very thin, and varies in shades of cream, buff, yellowywhite, whilst the "black" is often reddish brown and lighter. Atypical: 792 is a sitting hunchback, with the typical deformity of the chest and back. Shared early traits include a rounded crown, zoning of the eyes and cheeks leaving out the mouthchin triangle, outlined genital triangle (no vulva), small nipples, headdress with a stripy crown and appliquéd border with meander design. Atypical features are: the sitting position, with very short protruding legs, the stripy tunic and the two perforated lugs on the headdress border. The figurine is mold- and hand-made, hollow, with air-holes behind the upper arms, in black-on-white ware. SUB-GROUP 1.3.4: EARLY CHANCAY CUCHIMILCOS WITH EXTENDED ARMS: MISCELLANEOUS WARES

Table 27 Plate 55 Sample: 18 figurines (examined 17) Measurements Maximum Height (14) 23.7 cm Width (9) 16.4 cm Thickness (16) 6.6 cm Weight (7) 640 gr.

Minimum 9.3 cm 6.0 cm 2.9 cm 80 gr.

Median 16.5 cm 11.6 cm 4.3 cm 390 gr.

GROUP CHARACTERISTICS

This sub-group contains two fairly discrete groupings, as well as related figurines. The first grouping (eight specimens: 232 to 1522) is characterised by a semi-circular, high, plain headdress with flattened edge and two to five top perforation, very flat profile. The foreshortened face has characteristic elongated eye-brows reaching the temples, large eyes, nose without nostrils or alae, a very small or absent mouth and large circular, mostly pierced ears; traces of face-paint: zoning of the eyes, cheeks; oval chin, not jutting (thickened on 45), the neck varies. The straight-sided body lacks shoulders, the arms can start just above the waist and are extended slightly upwards, ending in rounded, concave hands without fingers; the straight, featureless legs can be separate, partly or wholly conjoined; feet protrude slightly at front and back, no toes; all except 232 (not indicated) are females, with an incised and mostly also painted genital triangle and modelled (rather than incised) vulva (e.g. 45, 191, 1307); small nipples, placed very high on five specimens (e.g. 45); umbilicus on three specimens (e.g. 873). Back mostly plain. Clothing: Headdress: high, plain, but now always with perforations: two (873, 1307), three (45, 191), four (232, 1519?), five (1522), 222 has a flat brim with four perforations at the front, two at the back. Traces of painted lines across

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the legs on 873, 1519; circular painted ear-plugs on 222; 232 may be wearing a necklace of several rows of small molded beads. The second grouping (P504, 226, 380) shows three figurines, probably wearing a plain, low, rectangular headdress with top perforations (damaged on P504, 226), flat profile; the large face has thick straight eye-brows and large eyes with modelled lids and pupils; hooked nose (380), nostrils (P504?, 226); tiny incised mouth (P504, 380), missing on 226; ears vary: large, naturalistic (226), smaller semi-circular (380), circular, concave ear-plugs (226); no face-paint, small protuberance below the mouth on 380; large rounded chin, neck. Straightsided body, arms, now damaged, appear to vary in shape and size: they start high up and appear extended sideways, no hands? Conjoined legs varying in length, slightly protruding feet, no toes; incised genital triangle, vulva as above; nipples (226, 380). No clothing or bodypaint. Note that 226, 380 are solid, without airholes, P504: not recorded. The remaining seven specimens are a mixed lot included here mainly because of their extended arms and ware, though they also share other traits. 381 and 151 have bilobed headdresses, 383 with perforations. 368, 1212 have high headdresses with vertical stripes; 368 has painted tear-lines and a necklace of two? rows of molded beads, 1212 has a raised trapezoidal genital triangle and air-holes placed in the back. 1542 has a headdress like those in grouping one, but different facial features and a non-descript body. 241 is damaged, the broken-off arms start practically from the waist, it is included here because of Haas's (1986: no.111) attribution (see Discussion). 145, has a plain, semi-circular headdress and body similar to the first grouping, but its large eyes, pointed nose with large nostrils and alae and modelled nose-to-chine lines are totally different. Manufacture: All the figurines are mold-made and all except three (or four, if we include P504) are hollow, with airholes at the waist (exception 1212: airholes in the back, at arm kevel). The ware generally has a thin white slip (the underlying terracotta paste showing through), with or without red decor. DISCUSSION (SUB-GROUPS 1.3.1 TO 1.3.4) This large sub-group of 53 specimens ranging in size from 65.0 cm to 9.3 cm, with an overall median size of 20.0 cm. Like Chancay sub-group 1.1 it includes a number of important one-off specimens, a number of typical predecessors of the Chancay cuchimilco, as well as figurines belonging to somewhat different stylistic traditions, mainly in sg. 1.3.4. Finally there are number of figurines included here which may well prove to belong to a different tradition altogether or to a later time span. The different—but roughly contemporary—stylistic traditions are mainly: Huaura: In sg. 1.3.3: 1798 to 1802/Pl.54 and in sg. 1.3.4: 368, 1212/Pl.55: Stripy headdress, necklace of molded beads, tear-lines (368) show some Huaura influence. But compared to Huaura figurines with extended arms (see Huaura 2.3/especially Pl. 37) the overall look here is closer to Chancay. The red base 3-colour geometric specimen 1213/1.3.1/Pl.52, with thick arched eyebrows, a much lower head-dress, as well as the unusual dark face-paint with tear-lines, does appear distantly related to a marginal grouping within Huaura 2.3 (cf. SAC 301, SAC 404, SAC 201, SAC 271 in Huaura 2.3/Pl. 37). A local Ancón-based sub style: The first grouping in 1.3.4 (873-1522) is a continuation of earlier figurines in similar—mostly red-on-white—wares, sharing traits like a tall semicircular headdress, very narrow in profile, foreshortened faces, elongated eye-brows (cf. 1148, C 144a/sg.1.1.4/Pl.49 and 1353, 1782, 1329/sg.1.2.4/Pl.51). "Sub-Chancay": Three other white-slipped solid figurines (226-380/1.3.4/Pl.55), one of them allegedly from the lower Chillón valley, could perhaps be assigned to a style that Kroeber's (1926c) calls "Sub-Chancay". Special traits / Links with other groups Two red base 3-colour geometric specimens (674, 1281/Pl. 52/sg. 1.3.1), especially 674 allegedly from Chincha (see below), are rather unusual, with arms extended forward (broken on 1281/Pl.52), pendant breasts and elaborate body-paint on 674. Some of these traits do

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occur in Chancay, but are rare: pendant breasts also occur on SAC 364/Pl.54/sg.1.3.3; they are represented on an exceptional Chancay (?) modelled jar (Lavalle and Lang 1982:47), and on a two Chancay sg. 3.1 figurines (376, 508/Pl.88). The body-paint motifs are Chancay ("bird foot" and "composite cross"), though the composite cross is also common in the Chincha and Ica styles 1; the pointed fingers and toes also have a South Coast feel about them (cf. Lapiner 1979: fig.501). Contacts between Chincha and Chancay are mainly said to occur during the classic Chancay phase 3, from LIP 4 onwards (Menzel and Rowe 1966: 65; Menzel 1966:107), so the provenance and date of 674 remain problematic. 1019, 594/ Pl.53/sg.1.3.2 and 1250/Pl.54/sg.1.3.3have a very marked bilobation, akin to animal ears, continuing a tradition starting with the late MH “Cats" or “Birds” (Chapter 7, Group 3). 2412/Pl.54/sg,1.3.3) has a different, "Mickey-mouse" type of bilobation which has parallels in CC-Late MH/early LIP unaffiliated figurines such as 1296 (Unaffiliated sg. 2 /Pl.45) and the atypical 424 in early Ychsma Group 1/Pl. 102. Hands painted black, which first appear on the extended arms of 394/Pl.50/sg. 1.2.3, become more common in sgs. 1.3.2, 1.3.3 and very common in Chancay sg. 1.4. According to Royo (2010: 70f) the die (huito) was extracted from a tropical plant and had magical functions. The atypical 792/ Pl.54/sg.1.3.3, a sitting hunchback, with its unusual lugs attached to the head-dress border-band could be a predecessor of the mythical Chancay "Witch" (Group 3). 53, 527/Pl.53/sg. 1.3.2, 358/Pl.54/sg. 1.3.3, with their very large semi-circular head-dress, with appliquéd border and ears inscribed inside the head-dress, are related to 1634/Pl.60/ sg. 1.4.1A, the atypical 1080/Pl.63/sg.1.4.1B, 1745/Pl.79/sg. 1.6.2B; they may represent a regional variant, though oddly most of these later specimens are hunchbacks. Context One figurine comes from a grave (873/sg.1.3.4, from Ancón 1/grave 555, Ravines 1981:155-156, see Appendix 3, Gravelots); P504/sg.1.3.4 was found above Uhle's grave T14 (Strong 1925). The five specimens excavated by Reiss and Stübel in the Ancón Necropolis and one figurine excavated and two figurines purchased by Uhle in the Chillón valley probably also come from burials, though there are no data about their context. Geographic Distribution Chancay 1.3.1 Certain Fairly reliable Unverifiable Chancay 1.3.2 Certain Fairly reliable Unverifiable Chancay 1.3.3 Certain Fairly reliable Unverifiable Chancay 1.3.4 Certain Fairly reliable Unverifiable

Huaura Valley

Chancay Valley

Ancón

Chillón Valley

1

Others

Chincha 2 2 2

1

1

1 1 6

1 2

2

1 2

In Ica the "composite cross" only occurs in patterned bands, not in a scattered design, though the derivative "tailed square" design does (Menzel 1976:figs 299, 488, 324). 2 According to R. Fung Pineda (personal communication in the 1980s!) the numbering 20/... at the MNAA, Lima, covers a collection of Chiriqui ceramics. However three specimens with a 20/... numbering (674 in Chancay sg. 1.3.1, 784 in Huaura sg. 2.1 and a LIP South Coast figurine (P229, see Vol. III, Pl.54) all come from Peru and possibly from Chincha. 1

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Sub-group 1.3 is badly documented. The seven certain provenances, are all from Ancón and six occur in sub-group 1.3.4, which somewhat strengthens the argument for the existence of an Ancón sub-style. The other certain provenance is from an Uhle excavation in the South Corner of Marquez; whilst two fairly reliable provenances are also from Uhle's material from Marquez, though they were probably acquired from huaqueros (see Appendix 1, Sites: Marquez and Appendix 2: UPMP). The provenance form the “Vicinity of Trujillo” is certainly wrong. CHRONOLOGY (SUB-GROUPS 1.1, 1.2, 1.3) It is obvious from the similarities between the three early Chancay sub-groups that they partly overlap chronologically. Indeed, if we compare the Black-on-white 2262/ Pl.48/sg.1.1.3/ with folded arms, to the 3-colour geometric 1749/ Pl.53/sg.1.3.2 with extended arms, we see that the decor is absolutely identical (headdress band, face-paint, overall body paint, belt, genital triangle); the only differences are the size (2262= 50 cm, 1749= ca. 43 cm, considering the broken-off foot) and the ware: 2262 is definitely black-on-white (though more yellow and brown in reality), whilst 1749 has an added purple to the cream and brown. Can one assume that both come from the same workshop? Unless one of them is a modern copy? Faced with such problems, one must make the best of any evidence (archaeological and/or stylistic) and try to establish the position in time of each sub-group in relation to each other and to classic Chancay types. 1. Gravelot associations (refer to Chancay Chronological framework above and to Appendix 3: Gravelots): Unfortunately meaningful gravelot associations only exist for eight figurines, mostly in miscellaneous wares: • sg. 1.1.1: 1075 (P.11299)/Pl. 46, from Ancón 1-T.962, red base 3-colour geometric and associated with a 3-colour geometric vessel dates to LIP 1-2 = Chancay phase 1. • sg. 1.1.3: 870 (P.6630)/Pl.48, from Ancón1-T.473, a black-on-white figurine with folded arms, associated with the atypical 871/Pl.51/sg.1.2.4, a hunchback with two sets of arms: the dating of other associated vessels is fairly ambiguous, but a likely date is LIP 3-4, the end of Chancay phase 2. • sg.1.1.4: 863 (P.8128)/Pl.49 from Ancón 1-T.618, a figurine with folded arms and traces of white slip, is associated with two typical late MH cups and two jars, possibly 3-colour geometric. A similar cup is dated by Ravines (1981:116-117) to MH4 = Chancay phase 1. • sg. 1.1.4: 866 (P.8149) from Ancón 1-T.619, a figurine with folded arms and red-onwhite ware is associated a Supe figurine dating to the late MH = Chancay phase 1 • sg. 1.1.4: 862 (P.9655)/Pl.49, from Ancón 1-T.721, a terracotta figurine with folded arms, is associated with a 3-colour geometric vessel. Ravines (1981: 115, 143) assigns this grave to his Epoca C = MH4, i.e. Chancay phase 1. • sg. 1.2.4: P.11055/Pl.51, from Ancón 1-T.852, a double-armed figurine, is associated with several figurines with extended arms: similar associations also occur in sg. 1.1 (see above 870/1.1.3). But this gravelot also contains a blackware figurine (P.11053/Pl.96/sg. 6.3), and a Chancay vessel with vertical stripes, which could be much later! = Chancay Phase 2? • sg. 1.2.4: 871 (P.6624)/Pl.51 – see above 870/1.1.3 = Chancay Phase 2 • sg. 1.2.4: P595/not illustrated, was excavated by Jijón y Caamaño (1949: 88-89) from grave CLXIV at Huaca III, Maranga. The cemetery belongs to construction phase 5 of the huaca, and is associated with “Chancay Black-on-white”, “Modern White-on-red”, “Press-molded”, as well as “Chimu” (probably black ware) and “Inca-influenced Chimu" = Chancay Phase ? • 1.3.4: 873 (P.7427)/Pl. 55, from Ancón 1-T.555 is dated by Ravines (1981: 155) to his Epoca D = Inca/Pachacamac. In the absence of grave goods, the dating is based 183

on the form of the burial. This late date is very unlikely, and a Chancay Phase 2 is more acceptable. • 1.3.4: P504/Pl.55 found above Uhle's Ancón grave T.14: The actual position is debated, but Strong (1925: 146) assigns it to his MAII, i.e. MH4, as does Kaulicke (1983: Abb.57L). The similar 226/Pl. 55, from the Reiss and Stübel collection at Ancón, is also dated to MAII-MH4 by Haas (1086: no.110). I see it as later than Strong, but earlier than Kaulicke, i.e. as Chancay Phase 1. We also have some data for 1580, 1026, 820/Pl. 50/sg. 1.2.2, which all come from disturbed contexts in the Rimac Valley, containing LIP pottery (see above, Sg.1.2: Geographic distribution). The following figurines dated by Hass (1986) and Kaulicke (1983) 1 are all dated to Chancay phase 1: • sg. 1.1.1: 231/Pl.46 (Reiss and Stübel) – dated by Haas (1986: no.120) to LIP 1-2 • sg. 1.2.2: 225/Pl.50 (Reiss and Stübel) – dated by Haas (1986: no.115) to LIP 1-2; by Kaulicke (1983: Abb. 64.3) to LIP; • sg. 1.2.2: 341/Pl.50 (Reiss and Stübel) – dated by Haas (1986: no.117) to LIP 1-2 • sg. 1.2.2: 342/Pl.50 (Reiss and Stübel) – dated by Haas (1986: no.116) to LIP 1-2 • sg. 1.2.4: 243/Pl.51 (Reiss and Stübel) – dated by Haas (1986: no.118) to LIP 1-2 • sg. 1.2.4: 340/Pl.51 (Reiss and Stübel) – dated by Haas (1986: no.114) to LIP 1-2; by Kaulicke (1983: Abb. 64.7,8) to LIP • sg. 1.3.3: 234/Pl.54 (Reiss and Stübel) – dated by Haas (1986: no.112) to LIP 1-2 • sg. 1.3.4: 232/Pl.55 (Reiss and Stübel) – dated by Haas (1986: no.119) to LIP 1-2 • sg. 1.3.4: 222/Pl.55 (Reiss and Stübel) – dated by Haas (1986: no.113) to LIP 1-2 • sg. 1.3.4: 241/Pl.55 (Reiss and Stübel) – dated by Haas (1986: no.111) to MH4 • sg. 1.3.4: 226/Pl.55 (Reiss and Stübel) – dated by Haas (1986: no.110) to MH4 2. Manufacturing criteria: Although this is a random sample par excellence, it is still significant that the red base 3colour geometric wares decrease—as an overall percentage of the ware in each sub-group— from 28.5% in 1.1.1 to 6% in 1.3.12, whilst the white base 3-colour geometric increases from 25% in 1.1.2 to 38% in 1.2.2 and to 32% in 1.3.2: this follows the expected frequency curve of these wares from the late Middle Horizon to the time they are completely replaced by blackon-white 3 . The frequency of black-on-white figurines does not quite follow the curve one could expect (1.1.3: 22%, 1.2.3: 17%, 1.3.3: 31 %), with too large a percentage in sub-group 1.1. This may be due to the fact that the position of the arms is not an absolute criterion in a chronological sense: figurines with folded arms probably went on being produced during Phase 2 (we know that a few survive into phase 3). Also some figurines which have been included in the classic Chancay phase 3 (see sg. 1.4 and especially sg. 1.5.2), may be somewhat earlier, which would increase the black-on-white percentage in 1.3, that is towards the end of phase 2. The position of the air-holes strengthens the picture provided by the wares. If we remember that during the classic phase 3 the air-holes are always near the waist, and counting only the hollow figurines with recorded air-hole locations for this calculation, we see that sg. 1.1 figurines have 30% air-holes at the waist, sg. 1.2: 100%, sg. 1.3: 87.5%. If we only consider black-on-white figurines: sg. 1.1.3 figurines have 33 % of air-holes at waist level, sg. 1.2.3: 100%, 1.3.3: 92%. The otherwise invaluable study of Lilien 1956 could not be used for dating, as it is now superseded. Red base 3-colour geometric wares do not occur in sub-group 1.2. 3 The percentage of 3-colour in 1.2 could be even higher: some Reiss and Stübel specimens which I have included in the miscellaneous wares have been classified by Haas (1986) as 3-colour geometric on stylistic grounds. 1 2

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3. Stylistic traits: If we assign the classic Black-on-white cuchimilco (sg. 1.4) to Phase 3, the following traits—present in early sub-groups 1.1 to 1.3 and excluding the miscellaneous wares when referring to painted decor—have all but disappeared by phase 3: • Marked bilobation (a very small indentation can occur later); • Folded arms, hands with three fingers; note also the gradual change—on extended arms—from lack of hands, to rounded scooped hands (sg. 1.2) to hands with incised fingers (sg. 1.3); • Overall body-paint of small motifs; • Painted outline of the genital triangle, sometimes with filler elements; • Painted lines across the legs. Note that this trait occurs on Chancay-Huaura figurines in phase 3 and reappears more generally in phase 4; • Necklace of large single beads or painted line around the neck; • Changes in face paint (see Plate 56) show a definite evolution from the late Middle Horizon to classic Chancay. Broadly speaking we start with a large percentage of all-over face-paint, which only occurs in sg. 1.1; also popular in sg.1.1 is an early form of facial zoning, very common on Huaura figurines, which covers the eyes and cuts diagonally across the cheeks to the chin. This survives as the most common form also in sgs. 1.2 and 1.3, but does not occur in sg. 1.4. In early red base3-colour geometric figurines the diagonal section of the cheek-zoning can be outlined by a contrasting line in white (e.g. 143/Pl.46/sg.1.1.1), replaced by a straight double line or a stepped line in white base 3-colour geometric or early black-on-white figurines (e.g. 794, 2411/Pl.47/sg. 1.1.2; 1448, 1749/Pls. 52, 53/sg.1.3.2; 2275/Pl.54/sg.1.3.3); but more often the outline is in a darker colour. In sg. 1.3 a new form of face zoning appears, sometimes only covering part of the eyes, but extending towards the temples—as in the classic Chancay "spectacles" of sg.1.4—and covering the cheeks to the chin (77, 598/Pls.52,53/sg. 1.3.2). Alongside these two forms of zoning we see the appearance of horizontal lines along the lower part of the cheeks, which become typical in classic Chancay (e.g. 2411/Pl.47/sg.1.1.2; 1892/Pl.53/sg.1.3.2; SAC 247/Pl.54/sg.1.3.3; also occasionally a "medallion” enclosing birds (e.g. 1016, 100/Pl.53/sg.1.3.2). • Changes in the headdress: the classic sg. 1.4 head-dress generally consists of a rectangular hat (sometimes rounded at the corners), with a plain black crown, mostly pierced by a row of small perforations, and edged with a horizontal border-band, painted with designs such as Chancay "Interlocking", "broken-line-and-dot", etc. The following variants, occurring in sgs.1.1, 1.2, 1.3 all but disappear later : - headdress with vertical or diagonal stripes or a combination of stripes and a horizontal border-band (e.g. 541/Pl.46/sg.1.1.1, SAC 257/Pl.48/sg.1.1.3, 674/Pl.52/sg.1.3.1 and numerous other examples); - appliquéd brim with vertical perforations (675/Pl.46/sg.1.1.1; 794, P496 /Pl.47/sg.1.1.2; 170/1.1.4; 222/1.3.4); - relief—rather than re as well as painted—border-band (2411/Pl.47/sg.1.1.2; 1892, 598, 2249, 527, 594/Pl. 53/sg.1.3.2; 358, 165/Pl.54/sg. 1.3.3); - border-band with designs such as: square-and-dot (794, 1062/Pl. 47/sg.1.1.2; 661/Pl.50/sg. 1.2.2), crosses (225/Pl.50/sg.1.2.2), meander variants (541/Pl.46/sg. 1.1.1; 820/Pl.50/sg.1.2.2; SAC 247/Pl.54/sg.1.3.3) These designs disappear or are greatly modified in classic Chancay. - headdresses with perforations along the top (not always visible on the photographs), very common in classic Chancay, increase from 6 % in sg. 1.1 to 27.5% in sg. 1.2 to 39% in sg. 1.3. The number of perforations per headdress also

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increases from mostly two (sgs. 1.1, 1.2) to three or four (sg. 1.3), in line with classic Chancay. • Rarer features, such as very elongated eyebrows (e.g. 1148, SAC 262/ Pl.49/sg.1.1.4; 1353, 1782/Pl.51/sg.1.2.4; many figurines in sg.1.3.4/Pl.55), or large eyes with parallel lids (164/Pl.51/sg.1.2.4; 226, 380/Pl.55/sg,1.3.4) also disappear later 1, whereas typical traits like the classic Chancay features, especially the thin nose with nostrils and alae and the naturalistic mouth, gradually make their appearance. Although these traits are valid criteria for dating, they are not specifically linked to any of the three sub-groups. As a result no sub-group as a whole can be assigned to a single phase (cf. with Chronological framework): Sub-group 1.1: Early cuchimilcos with folded arms: Sub-group 1.1.1 (red base 3-colour geometric.) Pl.46: 1075 (from Ancón 1/T.962, associated with a 3-colour geometric vessel) and 541, both with feather-motif decorative elements (on 541: the corners of the eyes) belong to MH4 (Chancay phase 1). 231 is dated by Haas (1986: 299) to LIP 1-2 (Chancay phase 1) = MH4-LIP 2 Sub-group 1.1.2 (white base 3-colour geometric) Pl.47: may start at the end of phase 1 and spans phase 2: comparing the 3-colour geometric design elements with other figurine traits I discern a possible sequence in time of decorative motifs (see Pl. 56): from "composite cross" or "square-and-dot" (794, 2411, P496) to smaller all-over motifs like "bird's foot" or "simple cross" (1061; cf. also 1.3.2). = LIP 2 - 4 Sub-group 1.1.3 (black-on-white) Pl.48: 870 from Ancón 1/T.473, associated with a doublearms figurine (871/1.2.4) and rather non-diagnostic vessels dates to the earlier part of phase 2. Most of the disparate black-on-white sample can be dated to the later part of phase 2 because of the appearance of the classic ware (but without the classic extended arms): some of the ware is decidedly of the black/brown-on-yellow/white variety, as opposed to a purple-black which is earlier. Here SAC 257/ is a typical predecessor of the classic cuchimilco, but still showing such early traits as a stripy head-dress, facial zoning, folded arms, large painted genital triangle and stripes across the legs and arms. I Most of this sub-group probably belongs to the latter part of phase 2. However the three atypical figurines are problematic: 2247/2248 combine early features (mainly the painted decor) with a rectangular headdress, each with four holes in sets of two, which is a late feature. They come from a private Lima collection which contains a number of "unusual" figurines, so their authenticity is somewhat doubtful. 1678, with an impeccable provenance, is a one-off, which best fits into this sub-group. Later phase of phase 2, early phase 3 =LIP 4-5. Sub-group 1.1.4 (miscellaneous wares) Pl.49: 862, 866, 863 from Ancón 1/T.721, T.619 and T.618 date to MH4 (Chancay phase 1). Note the press-molded features reminiscent of Ancón related unaffiliated figurines (Unaffiliated sg. 1, Pls. 44, 45). The other specimens in 1.1.4, representing various other stylistic currents (e.g. 1148 to 150 with high stripy head-dress related to Huaura; 1253 and 1227 with both Huaura and Chancay elements; the unusual 708 said to come from Chincha), all probably belong to phase 2, = LIP 3-4. Sub-group 1.2: Early cuchimilcos with two sets of arms (folded and extended): (Sub-group.1.2.1: No red base 3-colour geometric figurines). Sub-groups 1.2.2 (white base 3-colour geometric) and 1.2.3 (black-on-white) Pl.50: Three figurines from the Reiss and Stübel Ancón collection (225, 341, 342/1.2.2) are dated by Haas (1986: nos. 115, 117, 116) 2 who sees all three as 3-col.-geometric to Late Ancón Long eye-brows reappear on late Chancay figurines from the Chillón valley (see Chancay sg.1.6.2B/Pl.78). Haas sees all three figurines as 3-colour geometric, whereas Kaulicke (1983:64.3) sees 225 as "blackon-white" and dates it to LIP. 1 2

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I/LIP 1-2 (Chancay phase 1). But by comparison with the specimens in Chancay sg. 1.1. the figurines in 1.2.2 and 1.2.3 should date to the end of Late Ancón I, i.e. to Chancay phase 2, though a few figurines, especially black-on-white ones could be earlier than in sg. 1.1.3 (many have a purplish tinge to the black colour). = LIP 2-4 Sub-group 1.2.4 (Miscellaneous wares) Pl.51: The hunchback 871 from Ancón 1/T.473 is associated with 870 (sg.1.1.3) and dates to early phase 2. P.11055 from Ancón/T.852 should date to phase 2, but is associated to figurines with extended arms and a miniature vessel with black vertical stripes on a cream background (P.11045), all probably dating to phase 3 and a small black ware "spook" (P.11053/Pl.96/sg. 6.3) which could even be later. Two figurines excavated Reiss and Stübel (243 and the atypical 340) are dated by Haas (1986: nos. 118, 114) to Late Ancón I, (Chancay phase 1), because he sees the ware as 3-colour geometric, whereas Kaulicke (1983:64.7,8) classifies it as black-and-white. The atypical 340 is altogether problematic: admittedly the double arms are an early feature, as is the bilobation and the two perforations on the headdress, but the lateral appendages of the headdress and the facial features have a Late Horizon look about them 1! The atypical P595 (not illustrated) from Huaca III at Maranga, is said to come from a cemetery belonging to construction phase 5 of the huaca, associated with "Chancay black-on-white", "Modern White-on-red", "Press-molded", as well as "Chimu" (probably black ware) and "Inca-influenced Chimu" (Jijón and Caamaño 1949: 88-89). The atypical 1238 is a one-off and could date to phase 3? = LIP 2-5 Sub-group 1.3: Early cuchimilcos with extended arms: Sub-group 1.3.1 (red base 3-colour geometric) Pl.52: The unusual 674 combines early decorative elements (composite crosses, un-outlined white dots, facial zoning) with a shape already close to the classic cuchimilco, so could date to phase 2. There is little to help date 1281, apart from the ware and the extended arms. As for 1213, it combines early features (relief headband with painted complex meander decor, tear-lines, epigonal-derived ware) with unusual thick eye-brows over sunken eye-sockets and a necklace of several rows of beads, but it is more likely to be early (i.e. phase 2) than late (i.e.. phase 4). It may come from an area peripheral to the Chancay heartland. Sub-group 1.3.2 (white base 3-colour geometric) Pl.53: The 3-colour figurines (except P502) have later design elements than in sg. 1.3.1 ("bird's feet", simple crosses, dots, birds) and many figurines are already close to classic Chancay (1749 to 2157), so they must date to the second half of phase 2. It is possible that 2157, with its six headdress perforations in two sets of three, and with its carelessly executed painted decor is a fake, though it was acquired in 1914? Sub-group 1.3.3 (black-on-white): Haas dates 234 to Chancay phase 1 (1986: no. 112), but this is a very odd figurine. On the whole the black-on-white figurines must belong to the later phase 2; some Huaura-influenced figurines (1256 to 1802) could be slightly earlier. Sub-group. 1.3.4 (miscellaneous wares): 873 from Ancón 1/T.555 probably dates to phase 2. P504, from Uhle's Ancón T14 is similar to other specimens (e.g.. 226, 380), with a straight crown and very large eyes. These figurines are crudely made, solid, with a thin white slip, probably a local Ancón variant. Strong (1925:Pl.49d) dates P504 to MA II/MH4, i.e. Chancay phase 1, as Haas (1986: no.110) does 226. Some other red-onwhite specimens are also difficult to date, sharing traits with phase 1 or early phase 2: elongated eye-brows (232 to 1522), perforated horizontal hat-brim (222), flattened edge to head profile (45, 191, 1307), though these latter figurines already have perforations through their headdress, a later trait. Haas dates 232, 222, (1986: nos. 119, 113) to LA I/LIP 1-2 and the non-descript 241 (no.111) even to MA II/MH4, i.e. all to Chancay phase 1. Altogether the dating of 1.3.4 figurines remains speculative: the extended arms 1

There is a similar problem with dating 410/ Pl.85/Chancay sg.2.3, also with two sets of arms. 187

and the shape of the head point to phase 2, so the majority clearly dates to that phase. Some specimens could be late Chancay, though compared to phase 4 figurines the overall impression is quite different (see chronology of Chancay 1.6 and Chancay 6). To sum up: Early Chancay cuchimilcos (sgs 1.1 to 1.3) span phases 1 and 2 of the Chancay chronology (MH4 to LIP 4). In spite of a rather confusing overall picture, it would appear that there is a chronological "progression", with sgs. 1.1.1, 1.1.2, 1.1.3 – with folded arms, tending to belong to Chancay phase 1 (MH4-LIP 1-2), sgs. 1.2.2, 1.2.3 – with two sets of arms, dating to late phases 1 and early 2 (LIP 2-3), sgs.1.3.1, 1.3.2, 1.3.3 – with extended arms to phase 2 (LIP 3-4). However, the chronology is much less clear for sgs. 1.1.4, 1.2.4, 1.3.4, with figurines from peripheral styles, more distantly related to Chancay. It also shows that the position of the arms is less of an absolute chronological marker then suggested. Finally some isolated specimens may date to the early part of phase 3 (LIP 5), or even later.

SUB-GROUP 1.4: THE CLASSIC 1 BLACK-ON-WHITE CHANCAY CUCHIMILCO This sub-group contains the most common and best known Peruvian figurines. It can be sub-divided into three further sub-groups: two discrete sub-groups on the basis of size: small cuchimilcos (1.4.1a and b) never exceeding 30 cm in height and large cuchimilcos (sub-group 1.4.2) measuring more than 50 cm, indeed nearly 75% of these measuring more than 60 cm. A third black-on white sub-group (1.4.3) stands out by its unusual “baroque” ornamentation, not shared by the other classic cuchimilcos. SUB-GROUP 1.4.1: SMALL BLACK-ON-WHITE CHANCAY CUCHIMILCOS (HEIGHT UP TO 30 CM)

It has been an extremely difficult task to organise the [n] figurines under this heading into meaningful descriptive units: they display such a number of different attributes and such variety within these attributes! But eventually their overall proportions lead to a visible subdivision, which eventually turns out to also contain a number of attribute differences. The subdivision is: Sg. 1.4.1A: Small black-on-white cuchimilcos with heads wider than high; Sg. 1.4.1B: Small black-on-white cuchimilcos with heads higher than wide. The two sub-groups are described separately, but discussed together. SUB-GROUP 1.4.1A: SMALL BLACK-ON-WHITE CHANCAY CUCHIMILCOS WITH HEADS WIDER THAN HIGH

Table: 28 Plates: 57-60 Sample: 58 figurines + 7 atypical (examined 53) Measurements Maximum Minimum Height (55) 32.0 cm 10.2 cm Width (49) 22.0 cm 6.2 cm Thickness (46) 8.8 cm 3.4 cm Weight (33) 1060 gr. 130 gr.

Median 18.5 cm 13.8 cm 6.7 cm 440 gr.

GROUP CHARACTERISTICS

Medium sized females, standing (except for an atypical sitting hunchback), with laterally extended arms. The head is broader than high. The crown varies from semi-circular to practically flat, though most specimens show some rounding at the top and sides; six specimens (e.g. 1333 to 1245/Pl.57=10%) show a very small central indentation (bilobation?). In profile the head can be more or less tilted backwards (cf. 1547 with 1997/Pl.58, but always very flat at the top (pronounced fronto-occipital cranial deformation). A headdress is always worn. The face is broad, foreshortened. Some modelling of the eye-sockets and cheeks. Facepaint is always present, though zoning of the cheeks is much rarer and somewhat different. It consists mainly of "specs" and a decor of the lower cheeks. The "specs"—shown on all except 1

The term “classic” was coined by Uhle for the black-on-white Chancay pottery (Kroeber 1944:44). 188

four figurines (1997, 1465, SAC 358/Pl.58, SAC 276/Pl.59)—are drawn around or above the eye-lids to the temples, often joined by a thin line across the bridge of the nose; they can be thick (e.g. 109/Pl.57) or tapering (e.g. 474/Pl.57), nearly horizontal or at varying angles (nearly vertical on 1304/Pl.59); more rarely they are double, the lower line with curlicues (e.g. 400 and 43/Pl.59); 478/Pl.59 has additional triangles painted at the corner of the eyes. The more common decor of the cheeks (circa 50%) consists of fine line-drawings (two lines on each side, a plain thin one below, a thicker one with triangles—sometimes with additional decorative elements—above); the lines can be placed horizontally across the cheeks or parallel to the chin, which is always outlined in black. 359, 396/Pl.59 have small vertical lines linked to the chin outline, on 478, 1356/Pl.59 the chin line covers the mouth. Another form of facepaint (12%) consists of a painted square covering each cheek, sometimes in red and/or with an enclosed designs (lines; spirals: e.g.110/Pl.57; birds: 1547/Pl.58, etc); 544/Pl.57 has painted cheeks with serrated edges. Five specimens have short vertical lines painted at the corners of the mouth (e.g. 494/Pl.59). The chin varies from oval (e.g. 1246/Pl.57 to nearly straight (e.g. 1605/Pl. 59), always outlined in black; slightly jutting in profile, because of the tilted head, but not protruding. Eyebrows are molded, partly covered by the "specs". The eyes are molded, oval, with raised lids, outlined in black, and raised eye-balls with pupils painted black. The nose is very characteristic on the better-made figurines (e.g. 474, 110/Pl.57): small, with well designed nostrils and alae. The mouth is also characteristic on well-made specimens : molded, small, with well designed, curly lips, often outlined in black. The ears are generally placed rather low; over 60% protrude, the others are enclosed within the outline of the head (e.g. 359, 1602, 1598, etc./Pl.59); the shape is stylized: semi-circular to circular, concave, often with a central perforation (e.g. 109/Pl.57); the identical 1245, 1246/Pl.57 have dots painted on the ears. No ears: 55/Pl.59, 489/Pl.60. The neck is always very short, shown only by an indentation, also at the back. The body is generally broad, with relatively short legs. Very small, rounded shoulders, well-developed chest, often some modelling of the breasts, waist, abdomen, genital area. Lateral outline tapering towards the feet. Naturalistic profile, with some modelling of the back and buttocks (e.g.1547/Pl.58), the legs. The arms are always extended sideways and mostly slightly upwards. They are short, rarely showing both the upper and lower arms (exception 26/Pl.57). The hands are generally stylized, large, near-circular, concave, 55% have incised notches to indicate fingers (e.g. 1463/Pl. 57), the others are rounded, with no fingers (e.g.474/Pl.57). About 50% of the hands are painted black (generally on figurines without a tunic), either entirely, or only half, (e.g.26/Pl.57); 1304/Pl. 59 shows painted dots. The legs are generally short in proportion to the body; completely separated (53%), or joined down the middle, but with a deep groove dividing them at the front and back. Modelling of the knees is rare; legs are often very broad in profile, giving a stooping impression (e.g.1992/Pl.57). The feet are bulky, often protruding at the back as well the front; 40% have very characteristic molded toes (e.g. 544/Pl.57), the rest have no toes. Some of the smaller, less well-made specimens show no feet. Genitals: All the figurines are female, with a molded, raised (very rarely incised) pubic area and vulva, especially the better-made specimens; only SAC 360/Pl.58 shows no genitals but is certainly also female. Breasts: occur on 66%, shown by modelled (e.g. 544/Pl.57) and/or painted nipples (e.g. 1245/Pl.57) Umbilicus: Shown by a large depression above the waistline (45%). Back: All the specimens show some modelling of the neck and the buttocks, sometimes also a depression marking the spine; 475/Pl.59 and 393/Pl.60 have buttocks shown like an incised genital triangle. In addition the top of the headdress is always painted, as well as the shirt and the hands (if painted in front). Clothing and accessories: The headdress is rounded to rectangular in shape; the crown, painted black, varies in height (cf. 567 with 50/Pl.58) and generally has a decorative border below, depicting a woven band; this is painted directly below the black crown or with a space in between (cf. 474 and 109/Pl. 57). In the back only the plain black part is shown (exceptions: 475?pl.59 with band, 416/Pl.58 with three pendant triangles). 494, SAC 358, 200, 515, 477/Pls. 58, 59), have no border; on 474/Pl.57, 43/Pl.58, 55, C146, 1304/Pl. 59 the

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border is in low relief, also at the back, on 832/Pl.60 the relief border is incised as well as painted. The motifs of the border are (see Plate 56): 1) Chancay "Interlocking" (9% - cf. 1333, 474, 109 etc); 2) Variants of the "broken line", with or without dots, or with birds (circa 34%); 3) Diagonal lines, criss-cross pattern, triangles, lozenges (some with central bird) (17%); 4) More rarely squares with steps (e.g. 118/Pl.58 or other unidentified fillers (e.g. SAC 255/Pl.58). On 1356, SAC 276/Pl.59 the whole headdress is covered with a design of squares (with central dots on 1356). 1315/Pl.60 has a band with birds only. The top of the head-dress is generally perforated (see Table 28): two holes: eight (12 three holes: 36 (53.5 %), four holes: 9 (13.5 %), five holes: C146 (1.5 %) six holes: 359/Pl. 59 (1.5 %) no holes: 304/Pl.59, 1365/Pl.60 (6 %), damaged or unclear: 10 (15 %). Dress: About 35% of the figurines are naked, 35 % wear a short sleeveless vest, mostly with a round neck, painted at the front and back; 1998/Pl.58 is entirely painted black; 416/Pl.58 and 478/Pl.59 have a plain painted front, but a string vest at the back. 1356 and C 146/Pl.59 wear crossed painted fajas, made of real string on 1602/Pl.59; 1370, 1365, 1315/Pl.60 wear a painted string vest; 1333/Pl.57 was wrapped in textiles, 117/Pl.59 in string. Necklace: 1430/Pl.57 and 1356/Pl.59 wear a one-row bead molded necklace, 1998/Pl.58 a two-row molded necklace. 1315/Pl.60 wears a molded and painted necklace of small beads attached to a plain painted band. Ear-plugs: Possibly indicated by the painted dots on 1245, 1246/Pl.57. Manufacture: The figurines are made of two vertical molds, with joins visible along the sides. All the examined specimens appear hollow, except 398/Pl.60, which has airholes which do not go through, and 1998/Pl.58 and 478/Pl.59, which have no airholes (1998 is also relatively heavy, though 478 is not!) The air-holes are mainly at, above or below the waist (33 = 49 % of recorded specimens) or ears and waist (19 = 28%), others: waist and under feet, ears (4 = 6%); two figurines have no air-holes, seven are unrecorded. Some features can be incised. The ware is oxidized, pale red, generally of medium texture, the temper appears to be mostly sand (black grains); the surface is gritty, with a fairly dense "white" slip and "black" painted decor: the actual colours are often yellowy-white, cream or—more rarely—pink, with dark brown (or dark red) to black1. The dark pigment, said to be iron oxide, can show some thick sintering. Red is used in addition to black for face paint on five specimens. One figurine (1634/atypical) is white. Although there is a noticeable variety in the hue of both the "white" and "black" paint, those differences appear not to be linked to any stylistic variables. For instance: 1245 and 1246/Pl. 57 are obviously a pair, made from the same mold, but the slip on 1246 has a distinctly more pinky hue than on 1245. A number of specimens are quite worn or dirty. Atypical SAC 357: smaller head and more elongated body than usual. Different face-paint: double "eyebrows", small triangles at the corner of the eyes and zoning of the lower cheeks and chin; the chevron headdress border is unique, as is the belt below the tunic. SAC 222: Similar head- and body proportions as SAC 357. Very large eyes, traces of "specs" and cheek decor; incised genital triangle. Low black crown with three perforations, no border-band; crossed faja placed very high on the chest. 495: Although the main attributes belong to this sub-group, the overall look is different. Note the low headdress, with its protruding corners, the pointed ears, the very short arms folded upwards, with pointed elbows and small concave hands; the tunic, with a belt below, is only painted in front. Otherwise the headdress with four perforations and its band of lozenges with central dots, the square face-paint on the cheeks, the modelled breasts, umbilicus, protruding genital area and buttocks are typical. The figurine is mold-made, hollow, with airholes above 1 In the tables "Black-on-white" is used as a generic term. Variations in hue are indicated where recorded.

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the waist; the surface paint is reddish brown on cream. 568: A Chancay figurine very similar in look, proportions and face-paint to SAC 360/Pl.58: same horizontal "specs" and lower cheek decor of black triangles. The headdress is slightly more rounded and the band has a "square-and-steps" motif, instead of the "broken lines-anddots" of SAC 360. Same modelling of the chest, genital area, buttocks and bulky legs and feet. The only difference is that 568 has no arms! Mold-made, hollow, with airholes at the waist, classic black-on-white ware. P522: This figurine is difficult to classify: early features include the semi-circular head, with marked indentation (bilobation), the folded arms and the lack of body paint (cf. sg. 1.1.3/Pl. 48). But it shows the typical Chancay face paint, e.g." specs" and lower cheek decor, though the latter only consists of a plain line, and outline of the chin; the features are also typical Chancay. The body is plain, with separate legs and large modelled feet; nipples quite close together, slightly raised genital area, vulva?, umbilicus. Plain headdress, lacking a decorative border. Probably mold-made, an airhole is visible on the left side, the ware is described as "cream and brown". 1634: is undeniably a Chancay figurine, with the typical overall shape, facial features, molded nipples, umbilicus, genital triangle etc. But it lacks a black decor on the atypically smooth white slip. Other slightly unusual features are the very large, semi-circular headdress with a relief band placed low on the forehead and the very short extended arms, showing only the hands. The mold-made figurine is unusually large and heavy, but hollow, with airholes well below the waist, the smooth slip is white. 1917: Sitting hunchback with arms extended sideways and upwards, with marked elbows, concave hands and short legs extended forward. All features are clearly Chancay: headdress with semi-circular crown and three perforations, appliquéd border with painted "squares-andsteps" design; traces of "specs" and cheek decor; molded nipples, umbilicus, genital triangle, vulva; short black tunic. The head is certainly mold-made, the body probably also; the specimen is hollow, though very heavy, with airholes above the waist; the ware is black-onwhite. SUB-GROUP 1.4.1B: SMALL BLACK-ON-WHITE CHANCAY CUCHIMILCOS WITH HEADS HIGHER THAN WIDE

Table: 29 Plates: 61-63 Sample: 50 figurines + 3 atypical (examined 48) Measurements Maximum Minimum Height (47) 25.1 cm 8.7 cm Width (40) 15.7 cm 5.3 cm Thickness (43) 9.0 cm 2.7 cm Weight (37) 760 gr. 60 gr.

Median 16.8 cm 10.8 cm 4.9 cm 370 gr.

GROUP CHARACTERISTICS

Basically very similar to sg. 1.4.1A., but the head is often very high, either with straight sides or tapering towards the chin. The crown is very slightly rounded, more rarely semi-circular or straight. Only two figurines (1244, 843/Pl.61) show bilobation. In profile the head is mostly straight, rarely tilted backwards. Marked fronto-occipital deformation. Below the high headdress and forehead, the face is foreshortened and relatively broad. Some modelling of the eye-sockets and/or mouth area is less frequent than in sg. 1.4.1A. Because of the bad preservation of many specimens, the face paint is often not clear, but appears less standardised than in 1.4.1A: some form of "specs", placed at various angles, are worn by 67 %; 1541, 362/Pl.62 have double-line specs; 1360/Pl. 62, 1461, 360/Pl.63, only have small triangles painted at the corner of or below the eyes. The decor of the cheeks is even less clear: the classic line drawings (see sg. 1.4.1A) only occurs on about 10% (e.g.1398/Pl.61, 142/Pl.62), though there are traces of paint around the chin on a further 22%, and paint covering the whole mouth area on around 8% (e.g.1819/Pl.62); some specimens may have had the whole face painted (484/Pl.61, 71, 2000/Pl. 63), others have painted squares on the cheeks with inset design (e.g. 480/Pl.61). 377/Pl.62 has diagonal tear-lines (?) with broken-line-and-

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dot fillers, spirals (1321/Pl.63), curlicues (121/Pl. 62), dots (P507/Pl.63). The chin is as in sg. 1.4.1A, though a pointed chin is more frequent. Eyebrows are shown as part of the eye cavity and/or covered by the “specs”; absent on five specimens, unclear on another four; note the prominent molded eyebrows on 412/Pl.62. Eyes: as above sg. 1.4.1A; 842/Pl.63 has circular eyes. Nose: as above on the better made figurines. Mouth: ditto. Ears: Placed low: 83% show minimal modelling (semi-circular on most of the specimens with vest), hardly protruding from the head-dress; the rest have shapeless ears; 56% have perforations. Neck: as above. Body: On the better made specimens marginally more elongated than in sg. 1.4.1A, with a less broad chest, but longer legs. Fairly straight from the arms downwards. Arms: Mostly very short and broad, only a few specimens (with tunic) show elbows (e.g. 80, 1938/Pl.61). About half are extended straight sideways (e.g. 142/Pl.63), the other half upwards (e.g. 80/Pl.61). Hands are as above. Legs: Always joined down the middle, the groove varying in depth. On the better made specimens they tend to be longer, straighter, narrower than in sg. 1.4.1A; often very broad, trapezoidal in profile. 121, 1360, 65/Pl.62 have horizontal bands painted across the legs. Feet are either not shown or protruding slightly at the front and/or the back, sometimes sloping upwards or downwards at the back; only 30% have toes, shown by notches (e.g. 1543, 142/Pl. 63), rarely molded (e.g. 121, 1932/Pl.62). Genitals: All are female. Most have a small raised genital triangle; some specimens have a larger one, also raised and outlined by an incision (outlined with paint on 1244/Pl.61), mostly with a molded or incised vulva. Breasts: Nipples, often placed very high, are shown on 80% of the figurines, but there is no modelling of the breasts. Umbilicus: Shown on 46% of the figurines, often as a rather large depression. Back: Less carefully made than in sg. 1.4.1A: only about 30% show some modelling of the buttocks (on 1579/Pl.61, 487/Pl.63 a triangle—like a genital triangle—is incised in the area of the buttocks); the painted top of the headdress is shown on 50% (on 121, 65/Pl.62 as three pendant triangles); on 71, 487/Pl.63 as parallel vertical stripes). Most figurines also show the same type of clothing at the back as in front. Clothing and accessories: Headdress: basically of similar type as in 1.4.1A, but higher, narrower, generally with straighter sides and with a wider ornamental border (occasionally even two: e.g. 71, P507/Pl.63), outlined by one or more lines; 78% have a black crown, 28% have only a narrow black line above the headband. The ornamental headband features four basic designs (see Pl. 56): broken lines, horizontal lozenges, squares with various fillers, or an unstructured band with fillers; the "interlocking" design is absent. By far the most popular is the "broken line" design 2.1 (44%, e.g. 142/Pl.63), followed by the lozenge design, a variant of design 5 (e.g. 1398/Pl.61, 377/Pl.62) and "squares with fillers" design 4 (e.g. 836/Pl.62) both around 15%; 1321/Pl.63 has no border, many are unclear. All except one headdress have small perforations: 36 have three perforations (73.5%), eight have four (16.5%)—in two pairs of two on 412/Pl.62—; 492/Pl.62 and P507/Pl.63 have five, 230/Pl.61 has six perforations, 1853/Pl.62 has seven perforations. At the back, more often, but not always, only the black crown is shown; on 121, 65/Pl.62 we see three black pendant triangles, 487/Pl.63 has decorative string threaded through the headdress holes. Clothing: All, except five figurines, wear a garment on their upper body, generally also shown in the back 1. Three types occur: 1) a short plain sleeveless tunic (34 %, e.g. 233/Pl.61), 2) two fajas crossed on the chest (33 %, e.g. 1942/Pl.62); 3) a "string vest", consisting of two or three horizontal bands held together by vertical ones at the sides (21%, e.g. 1461/Pl.63). 1244/Pl.61 has an unusual painted square at the front; 1541/Pl.62 wears a tunic with vertical stripes containing different designs, amongst them fish. Necklace: Only 487/Pl.63 wears a necklace of large molded beads. Ear-plugs: Only 412/Pl.62 wears circular ear-plugs, decorated with punctations. Accessories: 377/Pl.62 carries a bundle of spindles, wrapped in gauze and attached to the figurine by several strings, crossed like two fajas. Manufacture: Basically as in sg, 1.4.1A. Airholes: 44.5% at the waist, 42.4% at the ears and waist, one at the ears, one at the ears and between the legs; four specimens are solid. 1

Not always visible on the photographs. 192

Atypical 1243: has a typical Chancay 1.4.1A body with completely separate legs , but a different face. with a very pointed nose and upturned molded lips, and an unusual decor, which may have been "retouched": no "specs", but a straight line down the nose across the mouth to the chin, with three short horizontal lines on the nose, zoning of the cheeks, across the nose and rising up to the temples, dots in the mouth area and on the circular ear-plugs. Short arms with angular elbows, nearly flay hands with short incised fingers (six on the left hand); straight legs with large feet and molded toes; molded chest with painted nipples, raised an genital triangle outlined in paint with additional fringe, molded umbilicus and vulva. Painted band around the neck, parallel painted bands around the arms. The tall headdress widens considerably at the top and is unusual in the combination of designs (reversed steps, multiple lines in criss-cross design); no perforations at the top. A separate necklace of vegetal beads is worn close to the neck in front, but hangs down to the modelled buttocks at the back. The surface colour is purple-brown on yellowy white, there are airholes at the ears and high above the waist in the armpits. 1080: Sitting hunchback. Typical Chancay face, traces of cheek decor, "specs"?. Tall semi-circular headdress with very narrow black crown (three perforations) and a double border-band, with squares and diagonal lines. Short thick arms ,elbows, concave hands with notches, six fingers, relatively long extended legs with molded knees, large feet, Fig. 36: incised toes. Molded chest and breasts, crossed Fig. 37 109/Sg.1.4.1A fajas, raised genital triangle, umbilicus. The back 71/sg. 1.4.1B shows a pointed hump and some modelling of the spine; underneath, a groove marks the separation of the legs. Mold-made, hollow, with airholes below the waist and at the base; typical Chancay surface treatment. C 147a: Small sitting hunchback, with tall probably rounded headdress (now chipped), typical Chancay features, short, broad extended arms and short extended legs. The back is not illustrated. Visible traces of black "specs" and perhaps a crossed faja. Mold-made, hollow, but only one airhole at the waist is mentioned. Was found in a workbasket with two other figurines (see Appendix 3). DISCUSSION (SGS. 1.4.1A AND 1.4.1B) The attribute analysis shows that the shape of the head is a possible criterion for a subdivision of the sub-group into A and B (cf. Figs 36, 35). Within each of these sub-divisions, we see further small groupings (see below) which may indicate different manufacturing centres. Although some variables may also be chronological, it is possible that sub-groups 1.4.1A and 1.4.1B come from different areas of the Central Coast, i.e. Huaura/Chancay, Ancón and Chillón (see below, Geographic Distribution). Visually we do get the impression of two different sub-styles, with figurines from Ancón representing a kind of intermediate style The existence of a rather different Chillón sub-style, with a taller head/headdress, is also confirmed in sg. 1.6.1A. A number of features either differ completely or are less common in sub-groups 1.4.1A and 1.4.1B: Sub-group 1.4.1A Head as wide or wider than high Crown: various shapes, including semicircular Bilobation: 10.8% (7 of 67) Body shape: broader chest, tapering towards the basin and legs, which can be fully separated; broader, flatter feet (when shown)

Sub-group 1.4.1B Head higher than wide Crown: straight or slightly rounded, rarely semicircular Bilobation: 3.8% (2 of 53) Straighter lateral outline; legs always conjoined, often narrower; feet often an extension of the legs (e.g. 1360, 71, 2000)

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Sub-group 1.4.1A (cont.) Hands often painted black Headdress: black section of the crown often wider, with a narrower decorative band below; band sometimes in relief, sometimes not shown; decorative motifs different from sg.1.4.1B Clothing: none (38%), plain black tunic (46%), other (10%)

Sub-group 1.4.1B (cont.) Hands rarely painted black Headdress: black section of the crown often narrower, with one or more wider decorative band(s), which can be separated from the crown by a wide space or several horizontal lines; decorative motifs different from sg.1.4.1A Clothing: none (10.6 %), tunic (34%), others: crossed fajas (33%), string vest (21%)

It has been very difficult to arrive at a logical sequence when listing the sub-groups: the variety is really overwhelming. An attempt to classify by either attribute analysis or by provenance proved totally counter-productive. Eventually I chose—as a starting point—traces of bilobation, a trait quite common in the earlier Chancay figurines of sgs. 1.1 to 1.3, and the design on the decorative headbands, with Chancay Interlocking also seen as an earlier feature. Other criteria where body-shape and clothing, but the result is far from satisfactory. Within each sub-group one can discern the following groupings: Sub-group 1.4.1A: • 1333/Pl.57 to 118/Pl.58 are on the whole better-made, often larger specimens, some with bilobation and/or separate legs, more elaborate face-paint; SAC 360 is a bit odd, closely related to the atypical armless 568/Pl.60. 1998, 400 and 43/Pl.58 have double "specs" and/or curlicues more common in the Chancay-Huaura and Jecuan sub-styles (sgs. 1.5.2,3). 1248 to SAC 358/Pl.58 are less well-made specimens. • 470 to 476/Pl.59 are grouped by linkage: semi-circular crown, triangle motif on the border band or lack of border band, markings in the corners of the mouth; note the very different facial traits of 477, said to come from the Rimac valley. • P505 to 1605/Pl.59 have nearly square heads, with the ears placed inside the headdress; 1602 (also 1605?) with its very wide ornamental band is related to sg.1.4.1B; note the criss-cross design on the border bands of 396, 1598, 1356 and SAC 276, similar to Chancay-Huaura. • Finally 55 to 2386/Pls.59, 60 are one-offs, though all showing traces of typical Chancay black-and-white decor. 55 and C146 have a molded and painted headband, 1315, with its headband decorated with fish and its molded and painted necklace, is closely related to Chancay-Huaura/Jecuan (sg. 1.5.3/Pl.74). Sub-group 1.4.1B: • 1244 and 843 head the sequence because of their bilobation. Otherwise the main groupings co-relate with the clothing: the specimens wearing a tunic (15791541/Pls.61, 62) tend to have narrower head-dress border bands, but there are no significant differences between those with crossed fajas (30 to 1853/Pl.62) and those with string vest (1543 to 526/Pl.63). 142, 493, 1321/Pl.64 wear no clothing; they and 1244, 834/Pl.61 are related to sg.1.4.1A. But many of the stylistic traits described may not have a real significance in terms of temporal or regional variations. For instance 142 and 493/Pl.63 are practically identical, in fact they probably are made with the same mold, but they differ somewhat in colour and their (unverifiable) provenances are said to be Huacho and Chancay; moreover they are classified as 1.4.1B because of their very high headdress, but all their other attributes are like 1.4.1A. Better still, if we examine the figurines from Uhle's grave B2 at Lauri (1997, 1998/sg.1.4.1A, 1994, 2061/sg. 1.4.2, 1996/sg. 2.3, 1995/sgr. 3.1 – see Pl. G9) we note differences in the quality of the manufacture, the colour of the surface finish, the design motifs of the border band, etc. To compare only like and like, that is 1997 and 1998, both in sg. 1.4.1A/Pl.58:

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1997 Head tilted backwards Face-paint: no specs, classic lower cheek decor Painted hands, no fingers Legs completely separated Headdress border: broken lines with "bird" fillers No clothing or adornments

1998 Head straight Face-paint: specs, cheek decor with curlicues (related to "Jecuan" sub-style, see sg. 1.5.3); Plain hands, incised fingers Legs conjoined down the middle Headdress border: "broken-line-and-dot" motif Tunic + paint on rest the In: A. Krzanowski

(Ed.): Estudios sobre la Cultura Chancay, pp.189-214. Universidad Jaguelona, Krakow.of body, row of molded beads It is of course possible that these figurines were luxury goods, produced at different centres, though in roughly the same area, or heirlooms of different epochs. A more plausible explanation is that we are dealing with a certain amount of creative freedom. On the other hand the iconographic variations (e.g. different figurine types) within the same burial are more likely to have had a symbolic or functional significance. Special features • A striking feature of typical Chancay cuchimilcos is the decorative headband or border, below the plain painted crown. It first makes its appearance in early black-and-white Chancay cuchimilcos with folded arms (2262, SAC 257/Pl.48/sg. 1.1.3), occurs sporadically on 3-colour geometric and related specimens with two sets of arms (sgs. 1.2.2, 1.2.3/Pl.50), becoming more frequent in early specimens with extended arms, especially in white base 3colour geometric (see Pl.53). Finally the painted headband becomes the absolute norm on the classic black-and-white cuchimilcos (sgs. 14.1A, B, and 1.4.2). Did the borders represent more than just an ornament, perhaps dictated by fashion? Possible interpretations are: a) a specific textile design linked to a group (ethnic, kinship); b) a marker indicating a hierarchical level; c) a design linked to the representation of a specific personage. Royo (2011: 29ff.) suggests various "readings" of the headband designs, linking them partly to specific geometric principles in general use within the culture, extending into cosmic and religious concepts, whilst also relating to kinship and locality. Rostworowski (1993:213) emphasises the importance of similar clothing within larger ethnic groups (macroetnias). There is also some ethnographic evidence that textile designs are linked to kinship groups. Stephen Hugh-Jones of King's College, Cambridge (personal communication), found that feather work incorporated in the head-dress of some Amazonian tribes is the equivalent to heraldic symbolism in medieval Europe, implying an undeniable kinship link. It is also linked with specific rites and chants—geometric motifs can encode songs—part of an activation, verbalisation and representation of the ancestral tradition. If one were to assume that the border identifies with an ethnic or kinship group, such as an ayllu, figurines in one burial should theoretically all have the same headband. This is not the case: amongst the cuchimilcos from grave Lauri B2 we see three different headbands, and a type 2 figurine with yet a fourth design. The headband could signify a hierarchical level, though there is no ethnographic equivalent for this interpretation. So, for the time being, we have no valid interpretation for variety within the headdress borders or headbands. • Another striking feature of the classic Chancay cuchimilco is the face-paint. Although some face-paint already appears in the earliest cuchimilcos (sg,1.1.1), the classic form, consisting only of "specs" and cheek decor is typical for Chancay sub-groups 1.4.1 A, B, 1.4.2, 1.4.3.

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The "specs" consist of a painted line along the eye-lids, bridging the nose and extending up towards the temples, appearing in its earliest form in the white base 3-colour geometric sg. 1.3.2 (e.g. 1749 , 22491016/Pl.53), though generally combined with zoning of the cheeks 1. It is suggested that they represent the ojo alado, a bird-related divine feature, also shown in the famous "comma eye" of the Sican-Lambayeque culture (Royo Fig. 38 (Royo 2010: 11) 2010: 70) The cheek decor, applied in fine line brush painting, generally consists of small triangles with dots and featherlike appendages, usually placed above a thicker line which outlines the whole chin. A form of this decor appears already on white base 3-colour geometric figurines (1892/Pl.53/sg. 1.3.2) and early black-on-white (SAC 247/Pl.54/sg. 1.3.3). Within fairly strict parameters (position, size) the actual variety of both headbands and face-paint is absolutely staggering, even without taking into account the "Baroque" cuchimilcos (sg.1.4.3) and Chancay-Huaura sg.1.5. Face-paint in particular is also very common on Chancay face-necks 2. • As we have seen, all the cuchimilcos in Chancay Group 1, with the exception of the Chancay-Huaura variant (sg.1.5), represent females. But recently I have come across two representations of classic cuchimilco males, as part of male/female couples (Royo 2010: 11 and 88). One of them belongs to sg.1.4.1A (see fig. 38) the other to sg. 1.4.2. I have strong doubts about the authenticity of these pairs. Royo (pers. comm.) tells me that the couple shown here, measuring 19.0 and 20.0 cm respectively, are mold-made, but solid, without airholes: this would be one of only two solid figurines of this type3. Moreover all Chancayrelated "couples" have different headdresses: here and on the other "couple" published by Royo they are the same; finally here they both have only two perforations through the headdress: this is extremely rare in sg.1.4.1A and always associated with a small central bilobation (474, Fig. 39: X-ray of fardo 1245, 1246/Pl. 57). Context The figurines were undoubtedly mainly grave goods: at least eight specimens (1992, 1997, 1998, 832/sg.1.4.1A and 843, 839, 1990, 836/sg. 1.4.1B) come from documented graves (see Appendix 3: Gravelots); two further specimens (233, 2000/1.4.1B) and probably many more, were excavated in the Necropolis of Ancón. Two of the figurines (843, 839/1.4.1B) are known to come from inside the wrappings of a fardo; 839 was placed together with another similar figurine (La-12-XXXVII) in a large fardo, presumably that of an adult (Cornejo 1985: App.1, pp.12, 45). This is a common practice in Chancay: no less than four figurines are visible on the X-ray of a fardo from Ancón (fig. 39: X-ray of a fardo from Ancón, purchased by G. Dorsey in 1891/FMC 183681). There are no other data regarding the age or sex of the interments.

Some specimens with "specs" (2157/1.3.2/Pl.53 and C147/1.3.3/Pl.54) may actually be of slightly later date: they were included in the earlier sgs. because of features like the outlined genital triangle and the lines across the legs. 2 See "La pintura facial en la cultura Chancay", Boletín del Museo Amano, Año 4 (1994), no. 5. Lima; Royo (2010: 19) illustrates a great variety of Chancay face-paint. 3 The other solid figurine in sg. 1.4.1A is 398/Pl.60, an obvious one-off. 1

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1458/1.4.1A/Pl.59 is attached to a litter made of crossed strings. Whether this represents a cradle or a funerary litter is open to debate (see Chapter 12). On either sides of the figurine we see long batons, which are often found inside fardos. 377/1.4.1B/Pl.62 carries a load of thin sticks attached to its back, possibly representing spindles wrapped in a textile. This of course may also have a symbolic meaning, since similar bundles of spindles are frequently found in burials (e.g. Kaulicke 1983: Abb.81.7). Many of the figurines, especially in sg. 1.4.1B are in poor condition. This may be due to prolonged use before interment; but many of these also come from Ancón and Chillón and may have been less well made than those from Chancay. Geographic distribution Chancay 1.4.1A Certain Fairly reliable Unverifiable Chancay 1.4.1B Certain Fairly reliable

Unverifiable

Huaura Valley

Chancay V.

Ancón

2

4 9 9

1

5 2

3 1

3

3

4

3

5

Chillón V.

Others

4

Magdalena (Rimac) Haida (not located)

1 5

1

2 Pachacamac

We see that in sg. 1.4.1A: 15 of the 21 figurines with certain or fairly reliable provenances (= 71.43 %) come from the Chancay and Huaura valleys, one (4.76 %) from Ancón, four (19 %) from the Chillón Valley and one (4.76 %) from the Rimac valley. In sg. 1.4.1B: of the 20 certain and fairly reliable provenances 10 (50 %) are from the Huaura and Chancay valleys, four (20%) are from Ancón, and six (30 %) from the Chillón valley. Note however that the three "fairly reliable" provenances from Quintay, Huaura, refer to figurines bought by Uhle from huaqueros in Lima: stylistically they are much closer to figurines found in Chillón. If their provenance was incorrect, the distribution would be 35% from Huaura/Chancay, 20% from Ancón and 45% form the Chillón valley. So a slight difference in the geographic distribution may account—at least partly—for the differences in the two sub-groups. Chronology (refer to Chancay Chronological Framework above) This group dates mainly to the classic phase 3 of the Chancay pottery style. Many early traits (painted outline of the genital triangle, all-over body-paint, painted lines across the legs or at the neck) have all but disappeared, others (bilobation, beads at neck, relief headdress border) have become rare: they are replaced by the characteristic Chancay face and the typical face-paint (with "specs" and fine line-drawings on the lower cheeks) and an unadorned body with or without unadorned painted clothing on its upper part. An attempt to fit this group into Cornejo's chronology using the available gravelots raises some problems: Several figurines (1333, 474, 109, 1463, 1992 etc /sg.1.4.1A/Pl. 57), carefully made, with a rounded, sometimes bilobed head and/or the "Chancay Interlocking" headband motif, broad chest, more often separate legs, clearly retain some resemblance with earlier 3-colour geometric or black-and-white figurines (cf. f.i. 1892, 2249, 100/1.3.2/Pl. 53, or f.i. SAC 247, 956, C 147/1.3.3/Pl.54). Logically, they should belong to Cornejo's phase 3A. By the same token, figurines with a straight crown and lacking some of the above traits, could belong to phase 3B. But the evidence of burial associations of the figurines is conflicting: • A figurine with rounded, bilobed head (843/1.4.1B), from Lauri grave 2 is indeed dated 3A, as is 839/1.4.1B, from Lauri grave 12, with an only slightly rounded head. • On the other hand a specimen with slightly rounded head and Chancay "Interlocking" headdress border (1992/1.4.1A) from Uhle's Lauri grave B1—which on stylistic grounds would be assigned to phase 3A—actually dates to (early) 3B. • Equally 1998 from Uhle's Lauri grave B2 with a large molded bead necklace (an early trait) has face-paint with curlicues, (reminiscent of "baroque" or Chancay197

Huaura "Jecuan-style" black-on-white pottery, possibly dating to the later part of phase 3). It also dates to 3B. • 836/1.4.1B from Pisquillo Grande grave 4, with a high, straight head, would be dated to 3B on stylistic grounds, whereas that grave probably dates to phase 3A. • Of the two figurines excavated by Uhle at Ancón, P505/1.4.1A/Pl.59, with a broad, slightly rounded head, is said to come from "under the strata of the Chancay period [midden] at T". For Strong this means that it comes from the midden strata itself (1925:141) and if the midden represents a time span, the figurine would come from the earlier part of it. The other Ancón figurine (2000/1.4.1B/Pl.63) has a very high head. It is from Uhle's Site A, which only contained Chancay pottery, and is listed in Uhle's MS catalogue (vol. VII, p.5) amongst the "objects found in graves on the top of the mound", indicating the end of the Chancay use of that area for burials, therefore possibly, but not necessarily, a late Chancay phase. There are no other burial associations. If we consider individual features: • The figurines with relief headdress border (474, 55, 1579, 1304, and the atypical 1634 and 1917, all in sg.1.4.1A) probably date to early phase 3: 474 has the Chancay "Interlocking" motif which already occurs in early Chancay, the others are all somewhat different from the mainstream. A plain white slip (1634) is usually considered to be late Chancay (cf. the tumbler 4/6475 from Uhle's Lauren grave B2) but the slip here is thick, pinky-white, similar to one that occurs in some Huaura 2.2 figurines. However C146, with a molded decor on its relief headband looks later. • 842/1.4.1B has circular eyes, which can be an early feature. It also has a partly incised headdress border, reminiscent of 834 (Chancay Group 2), a transitional specimen between phases 2 and 31. • Horizontal lines painted on the legs are very common on early figurines, either in bands of two or three colours or as two or three parallel lines (see Chancay sgs. 1.1 to 1.3). They also occur on some late Chancay figurines (sgs. 1.4.3, 1.6.1) and in Chancay-Huaura (sg. 1.5). Here they feature only on six figurines (5 %) e.g. 80, 121, 30, 1360, 65, 487, all in sg. 1.4.1B, one of them from Ancón, two others from Chillón. So the horizontal lines could be a regional or a temporal feature: many of the late Chancay 1.6. figurines with this feature come—like sg.1.4.1B figurines— predominantly from the Ancón and Chillón areas. • The atypical P522/ Pl.60/sg.1.4.1Awith folded arms has none of the early features otherwise associated with folded arms (see Chancay sgs. 1.1) and clearly belongs to phase 3. The following figurines could belong to the end of phase 3: • 1248/ Pl.58/sg.1.4.1A, with a "sketchy" face-paint and four headdress perforations in pairs of two, placed far apart; probably also 359/Pl.59/sg.1.4.1A with three pairs of two perforations, and the related 396/Pl.59 (perforations broken); • Pendant triangles painted at the back of the headdress (121, 65/ Pl.62/sg.1.4.1B) could also be late feature (cf. 2266, 583/Pl.68/sg. 1.4.3) • 475/Pl.59, 398/Pl.60/sg.1.4.1A and 1579/Pl.61, 487/Pl.63/sg. 1.4.1B have a feature imitating a genital triangle incised at the back: the same feature occurs on late specimens (cf. 413/Pl.75/sg.1.6.1A) • 412/Pl.62/sg.1.4.1B: thick eye-brows, punctated ear-plugs. To sum up: on purely stylistic grounds many figurines from sg. 1.4.1A, which share some traits of earlier group 1.3 specimens should be dated to the earlier part of phase 3 (3A), whilst conversely the greater part of the figurines in sg.1.4.1B which show none of these traits would 1 The circular eyes of 842 may mean that a different personage is depicted: note the resemblance with 275 (Chancay 5, atypical): circular eyes, thick chin-strap?, spherical pendant.

198

be later (phase 3B). However the dating on stylistic grounds is not borne out by the— admittedly uncertain—Cornejo chronology. So—unless we assume that some specimens may have been heirlooms—we can only say that both sub-groups date mainly to Chancay phase 3, some specimens with specifically late features could date to phase 4. As it seems that the sub-groups come—at least partly—from distinct areas, a more accurate dating could throw light on the possible expansion of Chancay influence south to Ancón and the Chillón valley, with important ethno-historical implications. SUB-GROUP 1.4.2: LARGE BLACK-ON-WHITE CUCHIMILCOS (HEIGHT ABOVE

Table 30 Plates: 64-67 Sample: 53 figurines – examined 37 Measurements Maximum Height (53) 68.6 cm Width (33) 36.5 cm Thickness (35) 21.0 cm Estimated weight: 2 kg. to 4.5 kg.

Minimum 41.0 cm 23.5 cm 9.7 cm

50 CM) 1

Median 62.5 cm 31.4 cm 14.8 cm

GROUP CHARACTERISTICS

Fairly homogenous group of large standing females with laterally extended arms. The head is wider than high on about 90 % of figurines. The crown is straight and angular, rarely slightly rounded (e.g. 2419/Pl.66, semi-circular on 2421/Pl.67); about 40 %, possibly more 2 show a mostly minute central indentation in the middle of the crown, perhaps hinting at bilobation. The sides of the head are straight or slightly widening upwards. In profile the head is straight, rarely tilted backwards, very narrow at the top (fronto-occipital deformation), Fig. 40 broadening towards neck (Fig. 40: 116/Pl.65). The face is very broad, foreshortened. The facial features are standardised, with minimal modelling of the eye-sockets, large molded eyes with black pained eye-balls, small straight nose with alae and nostrils which often function as air-holes, small mouth with molded and painted lips; the conch-like ears, generally perforated (air-holes), are mostly placed quite low and protrude only very slightly or not at all (e.g. SAC 454/Pl.66, 1239/Pl.77. Face-paint consists of "specs" and fine-line drawings on the lower cheeks. The "specs", generally outline the eyes and bridge the nose, then rise diagonally in quite a broad line to the temples; on 1239, 2387, 2388/Pl.67 they don't reach the temples; no “specs” on 245, SAC 461/Pl.67.The most common cheek decor consists of broken lines with central dot and small appendages (see Pl.56:"cheek paint"), underlined by a line (e.g. 204/Pl.66), or inscribed within parallel lines (1150, 245/Pl. 67); elaborate curlicues on 463, 1419, 2421/Pl.67, red cheek decor with central motif (1239/Pl.67); no face paint on SAC 461. Chin: Nearly straight, with slight rounding at the centre, prognathic in profile (e.g.116: above fig.38); always outlined in black. Very short but clearly defined neck. Body: Compared to other Chancay figurines, unusually large in proportion to the head. Because of the wide head, the rounded shoulders appear narrow; note the stylized angular shoulders on 460, P521/Pl.67. The chest is well developed, the thoracic cage and the waist can be modelled (e.g. P513/Pl.65); on circa 30% the body is disproportionately long in relation to the legs (e.g.1851, 1233, etc/Pl.66). The sides are generally straight, though they can also taper towards the legs (on about 20%, e.g.1851/Pl.66) or bulge around the waist (about 10%, e.g.1924/Pl.67); narrow but naturalistic profile, often leaning slightly backwards. Many of the examined figurines can stand unaided. Arms: nearly always raised upwards, but can start quite low on the body (e.g.1419/Pl.67); they are generally small, and vary from near naturalistic, showing the upper arms and forearms, mostly with angular elbows (e.g. 2061/Pl.64) to very Exceptions: 2387 (48.0 cm ), 2388 (46.6 cm ), 1419 (41.0 cm), 245 (48.0 cm), the latter a somewhat atypical specimen. 2 This feature is not always clearly visible on published figurines. 1

199

short, fin-like (e.g. SAC 460/Pl.67); 460 and P521/Pl.67 have small protuberances (moles?) near the elbows. Extremely standardized hands: circular, concave, with five short triangular fingers (except 1239, 1150/Pl.67: rounded hands, no fingers), always painted black (except 1924, 245/Pl.67). Legs: always completely separated. There are two main types: a) straight, cylindrical, with rounded calves and very flat feet—square at the front, rounded at the back, with toes indicated by four incisions (circa 55%: e.g.2061-2420/Pls.64-66); b) tapering, often rather short, lacking molded calves, but with large molded naturalistic feet and molded/incised toes (e.g.1851/Pl.66); note the triangular toes on 588/Pl.66; ten (or more?) figurines have ankle bones; 245 has thin horizontal lines painted across the legs. Genitals: All the specimens are female, with a large raised genital triangle, outlined by a shallow groove, and a vulva, shown by a long shallow incision; 1993, SAC 459, 1851/Pl.66, 463/Pl.67 have an incised genital triangle, on 245/Pl.67 outlined in paint; no genitals are shown on 1150/Pl.67, but it is clearly also female. Breasts: Shown on all specimens, modelled, flat, or slightly pendant with nipples placed unusually low (cf. P510/Pl.64 with P513/Pl.65); SAC 452/Pl.65, 1993/Pl.66, have nipples placed high to the sides of the chest; 460, P521, 1150/Pl.67 have small perforations on the nipples; note the relatively large nipples on 1419/Pl.67. The rest have normally placed nipples, sometimes painted black. Umbilicus: Shown as a fairly wide, shallow depression; no umbilicus on 1922/Pl.66, 1150/Pl.67; not clear on some of the published specimens. Back: Some modelling (vertical groove marking the spine, waist, buttocks); on the obese specimens, bulging at the waist; the painted headdress, including the ornamental border, is shown in the back on circa 60% of figurines, possibly more. Clothing and accessories: Headdress: The black crown is normally of medium height, but can be very high (e.g. SAC 454/Pl.66) or very low (e.g. 1993/Pl.66), the ornamental band also varies. Four designs (see Pl.56) account for 70% of the decoration: squares with diagonal steps and dots (Pl.56-Border 6.1), double band with step motif above and broken-lines-and dots below (Pl.56-Border 6.3, 6.4) Interlocking (Pl.56-Border1), and variants of broken-lineand-dot, broken lines only (see Pl. 56-Border 2). The crown usually has very small perforations at the upper edge: three perforations on 23 figurines (possibly 27?), four perforations on nine figurines (aligned, or in pairs of two on 1233, 1922, 1419, 1239), two on four figurines, none on 1150, 245 and possibly on 463; not known on 10 figurines. No other clothing, body-paint or jewellery. Manufacture: The manufacturing method is not absolutely clear: the specimens could have a hand-made (coiled?) body, whilst the head and—in some cases—the arms and legs could be mold-made 1. But 1239/Pl.Pl.67 features a neat vertical crack along one side, from head to foot, which could mean that it—and perhaps others—were made entirely by using two vertical molds. However, except in that case, lateral joins (on the body, limbs or head) are never visible. Only a few specimens (463, possibly 245, both Pl.67) have hand-made heads. All the figurines are hollow. Air-holes are placed at the ears, nose and armpits or waist (11, i.e. 21.5 % of total or 45.8 % of the recorded specimens), at the ears and armpits or waist (10, i.e. 19.6 % or 41.6 %), and at the elbows and armpits or only at the armpits (three, i.e. 5.8 % or 12.5 %); not recorded on 27 figurines. The ware is mostly medium to coarse, pale terracotta in colour. The surface is usually fairly rough, unburnished, covered with a fairly thick yellowy-white, cream or pinkish slip, with black, dark brown or reddish-brown decor. 1993?pl.66, 1239/Pl.67 have additional red paint on their cheeks. A number of the stereotyped specimens (2061 to P513/Pls. 64, 65) are in mint condition, and the slip is exceptionally clean and light in colour.

Chancay vessels were frequently made using "partial molds" (Hodnett 1978:7ff). A number of Chancay figurine molds, as well as positive molds from which the molds are made, exist in the museum collections, but they are all of small figurines (see Pls. 98, 99). I have not come across molds for large cuchimilcos, either partial or whole, but have been told by a private collector that they exist. Large molds are less likely to survive, being more likely to break. 1

200

DISCUSSION

Obviously this representation, especially in its massive incarnation—in sg. 1.4.2—is not simply any woman. Even at this distance in time, one finds it difficult to see in her a female ideal, to be buried as a spouse-, mother- or attendant substitute. Recently C. Royo has attempted to interpret her as Quilla, the Goddess Moon, sister, mother and spouse of Inti (2010:23). The basis to his interpretation is an analysis of the headband designs and the facepaint: the various interpretations are difficult to follow. Although this sub-group is much more homogenous than sub-groups 1.4.1A and B it was still difficult to find valid criteria for classification. With only three certain provenances and no obvious features relating to chronology, I turned to the decor of the headband, which could indicate ethnicity or "locality", beside any symbolic meanings. Interestingly, other characteristics, such as body shape, also correlated 1. So we roughly distinguish the following groupings: • 2061 to 1604 (Pl.64), with a headband of squares with diagonal steps and dots (see Pl.56, Border 6.1), and 2164 to P513 (Pl.65) with a double band, with step motif above and broken-lines-and-dots below (Pl.56, Border 6.3), all have the same square headdress with small indentation and three perforations, and a similar body 2; • 1851-463 (Pls. 66, 67) with headbands of an interlocking design or broken-lines and-dots: 13 figurines 3 with elongated bodies on short legs and/or feet with large molded toes, very different from the grouping above; several also have a higher head. • 1239 to 1419 (Pl.67) are obese; notice also the slightly different “specs” (1239, 2387, 2388, 460) and arms (460, P521 with angular shoulders, SAC 460 with very short arms). In addition both this and the previous grouping contain all the headdresses with four perforations. Obviously some specimens fall between theses groupings: 1993 to P514 (Pl.66) have a different headband than Grouping 1 and a different overall shape than Grouping 2; 2420/Pl.67 obviously belongs to Grouping 1, except for the taller head and different headband. Special features The most salient features, i.e. the face-paint ("specs" and cheek-decor) and the headband, have already been discussed in sg.1.4.1 (see above). A unique feature here are mole-like protuberances on the arms of two closely related figurines (460, P521/Pl.67); both also have punctated nipples, a late feature (see below, Chronology). Context Three figurines (2061, 1994/Pl.64, 1993/Pl. 66) were found in graves. There are no data about the actual burials (see Appendix 3, Gravelots). The two almost identical specimens (2061, 1994) were found in the same grave (Uhle's Lauren grave B2), but we don't know whether this was a multiple burial, with each of the large cuchimilcos serving as a possible attendant/mother- or wife-substitute for different individuals. The pristine condition of so many specimens—especially amongst the stereotyped ones—can only mean that they were not used prior to deposition, indeed that they were manufactured specifically as grave goods. Note however that the head fragment (204) has holes drilled at the back of the neck to tie the broken head to the body (now missing); in that case it is likely that it was in use before being deposited. The question is: who manufactured these standardised objects? It is unthinkable that objects of this size and standardisation were produced in a domestic context. Rather, the small I recently came across C. Royo's publications (2010, 2013), which contain a large number of cuchimilcos: although I could not include them in this study, attribute analysis largely confirmed my classification. 2 SAC 452/Pl.65, falls slightly outside this grouping. 3 Four specimens are not illustrated – see Table. 1

201

differences in shape and decor perceived between the "groupings" in sg. 1.4.2, indicate that they come from a few specialised local production centres. Such centres—with kiln waste and the remains of the locations used for the firing (not necessarily kilns)—have not, to my knowledge, as yet appeared in the archaeological record. The difference in size (over 20 cm) between the largest of the small cuchimilcos (1.4.1A, B) and the smallest in this group must mean that the two sub-types had a somewhat different function. However, apart from the difference in size, there are no fundamental iconographic differences with the small cuchimilcos, both representing naked females wearing the same type of headdress. Considering their weight these figures cannot have been toys. Geographic distribution All the provenances are from the Chancay Valley (three certain, three fairly reliable, five unverifiable), except one fairly reliable for Quintay, Huaura Valley. Chronology This group can be dated to phase 3—more specifically to phase 3B—by reference to Uhle's gravelots B1 and B2 from Lauri (see Chancay Chronology and chronology of 1.4.1A and B above). The absence of any early traits (cf. sub-group 1.3) confirms a fairly late date for the whole group. Some specimens probably belong to the end of phase 3 or to phase 4, by comparison with Chancay 1.6 figurines: headdress perforations in sets of two (1419); punctated nipples (460, P521). 1150, 245/P67, with elongated, stylized bodies and less careful decor (face-paint, headdress), as well as a painted genital triangle and horizontal lines across the legs (245) probably belong to phase 4. SUB-GROUP 1.4.3: “BAROQUE” BLACK-ON-WHITE CUCHIMILCOS

Table 31 Plates 68, 69 Sample: 24 figurines + 1 atypical (examined 17) Measurements Maximum Minimum Median Height (21) 60.0 cm 23.0 cm 45.6 cm Width (12) 35.0 cm 16.5 cm 25.0 cm Thickness (10) 13.0 cm 5.8 cm 10.2 cm Weight: Only seven figurines were weighed; they are generally very heavy for their size, e.g. 583, with a height of 56 cm, weighs 3 kg. GROUP CHARACTERISTICS

Standing figurines, greatly varying in size and shape, but characterized by their elaborate decor. The head tends to have a straight or slightly rounded crown, 583/Pl.68 and 575/Pl.69 have a small incision hinting at bilobation; in profile it is extremely flattened, showing frontooccipital deformation. The face varies from extremely foreshortened (e.g. 2252/Pl.68), to quite normal (e.g. 2266/Pl.68), or with a very high forehead (e.g. 2321/Pl.69). The face-paint basically consists of "specs" and lower cheek decor. The “specs” can rise diagonally, vertically (2422/Pl.68) or be nearly horizontal (2322/Pl.68) and are extremely varied: note triangular "specs" with curlicues (P525, 2244/Pl.68) or zoning of the eye area (582/Pl.69); no specs on 578, P528/Pl.69, extension of the eye-brows only: 698/Pl.69. Cheek decor includes variants of fine-line drawing (e.g. 154/Pl.68), often extremely elaborate (P526, 2266, 583/Pl.68) or zoning of the lower cheeks and mouth (e.g. 2251, SAC 359/Pl.68, 698/Pl.69), including painting of the whole cheek (2265/Pl.69, and 578/Pl.69 with a criss-cross design). Eyes, Nose, Mouth: not unlike classic Chancay, with small variations. Eyebrows: modelled and painted on 154/Pl.68, 578, P528/Pl.69, modelling of eye-sockets only on 1310/Pl.68; 578/Pl.69 has circular eyes. Nose: as in 1.4.2, but very narrow (154, 698), upturned (1310, 154), hooked (698), all with nostrils and alae, with paint on the alae (e.g. 575) or tip. Mouth also as in 1.4.2. Ears: Mostly small (exception 583/Pl.68), conch-like, often with central airholes; the position varies, from very low (e.g. 2251) to normal (e.g. 154). Chin: Practically straight; in profile only the tip is jutting; mostly outlined in black (exception 578/Pl.69). Neck: very short, hardly indicated on some specimens (e.g. 583, 578).

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The body greatly varies in shape, from fairly normal in proportion, with broader chest, tapering towards the normal-size legs (e.g.P524/Pl.68), to corpulent, bulging around the waist, also in profile (e.g. 154/Pl.68) or straight, narrow (e.g. 578/Pl.69), sometimes with an elongated upper body (e.g. 583/Pl.68) or tapering towards the legs (e.g. 2322/Pl.68, 698/Pl.69); shoulders either not shown (e.g. 2252/Pl.68) or rounded (e.g.1310/Pl.68). The arms, always extended sideways and upwards, can be placed high (e.g. 2252/Pl.68, 2321/Pl.69) to very low (e.g. 583/Pl.68). They are generally very short and thin; several specimens have emphasised elbows (e.g. 1310, 2266/Pl.68, P528/Pl.69). Hands are generally small, circular, slightly concave, mostly with incised fingers; 578, P528/Pl.69 have large concave hands with incised fingers; nearly all hands are painted black, at least partly. The legs are always completely separated, mostly cylindrical, straight or tapering towards the feet; slight modelling of knees is rare (2321, 578, 698/Pl.69); ankle-bones shown on one third of the figurines (e.g. P525/Pl.68); note extremely heavy, large legs on 575/Pl.69; painted horizontal lines 1 on 1310, P526/Pl.68, 2265, 698, P528/Pl.69. Feet are mostly small, rounded, with or without incised toes, but note the extremely large feet with modelled toes and toe-nails on 2322, 583/Pl.68, 575, P528/\pl.69. Genitals: All are females, with slightly raised genital triangle and a depression indicating the vulva (perforated on 154/Pl.68), painted vulva on 572/Pl.68, modelled clitoris on 698, P528/Pl.69. Breasts: nipples shown on most specimens (not clear on some of the published ones). Umbilicus: Often a large depression; appliquéd on P526, 583/Pl.68, P528/Pl.69; no umbilicus on 698. Back: Mostly shows some of the painted clothing and the top of the headdress; some specimen have a vertical groove along the spine or between the buttocks (e.g. 583, 582, 2265, 578, 698); 1237 has an incised triangle in the buttock area. Clothes, accessories: Headdress: Reminiscent of the classical form, but great variety in the shape and decor. The height varies from very low (e.g. 2242/Pl.68) to extremely high (e.g. 583/Pl.68). The crown itself is mostly low, (except 2266, 583/Pl.68), either plain black or decorated: step motif (P525/Pl.68), white dots (154, 2266/Pl.68); on P528/Pl.69 the crown is divided by vertical bands. Varied borders: Interlocking (e.g. 2266/Pl.68), variants of brokenlines-and-dots (P526, 583/Pl.68), horizontal lozenges (e.g. 2322, 1310/Pl.68), diagonal lines with curlicues (2251/Pl.68) or fish (572/Pl.68), chevron-derived design, criss-cross; double border bands on 2251, 2244/Pl.68. 2266, 583/Pl.68 have three pendant painted triangles with white dots at the back of the head. Perforations through the headdress: three (one figurine), four (five figurines, in pairs of two on 575), five (four figurines), six (one: 1310 in sets of two), eight (2242), nine (2321); no perforations on seven (or more?) figurines. Clothing: All except 575, P528/Pl.69, wear some form of clothing, mostly waist-length sleeveless tunics, plain black (four) or with a variety of decors: large white dots with cross or bird fillers (P525, 2244, 2252/Pl.68), criss-cross design (2321, 698/Pl.69), sometimes with a different back (e.g. 2242/Pl.68). A kind of “string vest” with broad or narrow horizontal bands also occurs (e.g. 1310, SAC 359/Pl.68, 2265/Pl.69). On 2265 the horizontal stripes also cover the legs. Earplugs: Circular ear-plugs with a punctated decor, unusually placed on the ears-lobes, are worn by 1310, P526, 2266/Pl.68. Necklace: 2242/Pl.68 wears a band with painted circles, 572/Pl.68 with painted pendants. Manufacture: It is very difficult to assess the process of manufacture: the majority of figurines appear to be entirely hand-made, others may have a mold-made head and a handmade body. All are hollow with air-holes: 1) at the ears and armpits or waist (11 + 2 probable = 65 % of recorded figurines), 2) only at the waist or the armpits (4= 20 %) and 3) at the nose, ears, armpits or waist, one also at the vulva (3 = 15 %); unrecorded: 4 figurines. The ware is the typical Chancay ware, with a yellowy-white to pinky slip and black or reddish-brown decor on a fairly rough surface.

1

Not always visible on the photographs. 203

Atypical : P523 (Lapiner 1968: no. 42) is linked to this sub-group by a number of features. It has an unusual low, flat head and a wide face with a protuberance on the forehead (an animal head?), atypical triangular "specs" with curlicues and an overall decor of stylised fish, as well as a basic lower cheek decor (Fig. 41). The body bulges at the waist, the short arms with angular elbows and concave hands are extended upwards; the separate legs have large feet with incised toes. Female genitals are indicated by a raised genital area. Clothing: The low headdress has a border band decorated with fish; the short tunic is decorated with diagonal bands showing fish and alternating with "circles-and-dot". Large pendant earrings appear to be attached above the ears? Necklace of pendants. Probably mold-made, said to be "black-onwhite". DISCUSSION

This group probably represents a late stage of Chancay "black-on-white" figurine production. Arguably some of the figurines still included in the "classic" sg. 1.4.2 (1419, 2421, 1150, 245/Pl.67) could have been listed here. The sub-group is characterized by an unusually elaborate decor, often—though not always—rather carelessly executed. Many of the figurines are entirely hand-made and are often slightly crooked and unstable. The size is also much less constant than in sg.1.4.2, with 73% measuring between 40 cm and 60 cm, 27% between 20 cm and 40 cm. Some groupings are apparent within the sample: • 2251 to P526/Pl.68 are closer to 1.4.2 figures, except for their clothes and decor. • 154 to 2266/Pl.68 mostly have rotund, fairly short bodies; • 583 to 578/Pls,68, 69 have straighter, more elongated bodies. • 575 and P528/Pl.69 are naked like the classic large cuchimilcos (1.4.2), but they have an altogether different, more “baroque” look. Special features, links with other groups Some of the decorative motifs are fairly unusual: the spiral motif in the face-paint of P526/Pl.68, headbands (e.g. P524/Pl.69, with fish and birds). Some of the motifs on the headbands, the face-paint or tunics also occur on Chancay-Huaura specimens (see Pl.69): fish: P524, 572, atypical P523 (headbands, tunic); bird: P524 (headband), 2252 (tunic); crisscross motif, suggesting a net: 2251, 2322, 578 (face paint), 2321, 698 (tunic). These motifs appear to be linked with fishing and possibly with marine-derived fertility. Other features shared with Chancay-Huaura and the "Jecuan" sub-style (see 1.5): • Double or triple "specs" (2242, 698) • Zoning or face-paint of the mouth and chin (numerous specimens, e.g. 2422, SAC 359, 698, etc.) • Appliquéd "belly-button" (P526, 583, P528). • Modelled clitoris (P525, 698), a late trait (see also LH 1.1) Unusual features, also shared with "classic" Chancay: • the unusual large feet with modelled toenails (cf. Fig. 41 583, 575, P528 with 588/Pl.66, in 1.4.2, 1146 in 1.5.2b, etc.) • the triple pendant triangles (cf. backs of 2266, 583, with 121, 65/Pl.62 in 1.4.1B) The rectangular headdress of P528, subdivided into three sections by two vertical bands, is reminiscent of the headdress of the Chancay "attendant" (Group 4). The atypical P523 (Fig. 41) is unique: the projection on the forehead above the nose resembles headgear with an animal head at its center, common in Moche iconography, but has no parallels on the Central Coast. Pendant Fig. 42 204

earrings are also common in Moche, though not in this form; the unusual necklace with long pendants (also on 572/Pl.68 and 1315/1.4.1A/Pl. 60) has a parallel on a figurine (see Fig. 42: MAL 2850), with an undeniable North Coast (Moche) 1 look, but which has a "fairly reliable" provenance from Miraflores, Chancay. Similar earrings or necklaces are otherwise unknown on the Central Coast. A tunic with diagonal parallel stripes does occur on one early Chancay figurine (see P496/Pl.47 Chancay 1.1.2), though the fillers here are not dots, but stylized fish—also painted on the forehead—a typical Chancay-Huaura and Jecuan motif (see 1.5). Fig. 43: Chancay vessel from Context: No data, but probably looted from graves, as in sgs. private collection, front and back 1.4.1A, B, 1.4.2. Geographic distribution: There are five fairly reliable provenances, all from the same area of the Chancay valley (Lauri, Pisquillo). Chronology There are no documented gravelots for this group, but one vessel (Fig. 43) is said to have been found with 2265/Pl.69. A corresponding shape comes from Horkheimer’s Lauri VII, grave 2 (Cornejo 1991: Fig.6, top left) and a similar, though not identical decor appears on another vessel from the same grave (ibid: Fig. 9, no. XXXVIII). This grave is dated to Cornejo's phase 3B, i.e. the end of my phase 3 or even phase 4. Several figurines show similarities with the "Jecuan" sub-style (1.5.3): Uhle considered it an early phase of black-on-white, but I believe it to be contemporary with the later part of classic Chancay. Although some features, like the zoning of the eyes (SAC 246/Pl.68, 582/Pl.69) and of the cheeks (578/Pl.69) or the circular eyes (578), as well as the lines across the legs (1310, P526/Pl.68, 698/Pl.69) have early parallels, I believe them to be archaising traits (the "early" circular eyes are combined with "late" arched eyebrows on 578!). Other features, like the cheek-decor drawn within horizontal lines (1310, P526, SAC 246/Pl.68), the arms starting rather low on the body (154, SAC 359, 583/Pl.68), the wearing of ear-plugs, are also a late development. If we consider the stylistic development within Chancay Group 1, especially the continuum between larger specimens in sub-groups 1.3 (red or white base 3-colour geometric and early "black-and-white") and 1.4, the figurines in sub-group 1.4.3 fit best into the end of that sequence, as a decadent form of classic Chancay. The naturalistic figure with its broad chest and modelled legs has given way to a baroque representation with a rotund or exaggeratedly tubular body and often very long or fat legs, some with huge feet. The manufacture is less accomplished, the paintwork sloppy (viz. the drips of paint on 583/Pl.68). One also feels that the potter is no longer familiar with traditional designs (viz. the irregular border bands of 583, 572). Overall: Although some specimens like 2422/Pl.68 and 2321/Pl.69 may still date to late phase 3, the remaining specimens are probably the Chancay valley contemporaries of Late Horizon figurines and therefore date to Chancay phase 4.

SUB-GROUP 1.5: CHANCAY-HUAURA CUCHIMILCOS The figurines of this sub-group are iconographically and technically related to the Huaura figurines. However the wares involved (especially 3-colour geometric and black-on-white) are typical for the Chancay culture and the overall aspect also differs from Huaura figurines. In publications such figurines are always considered to belong to the Chancay style. The scarce provenances, none of them documented, are fairly evenly divided between the Huaura and Chancay valleys. The relationship between Huaura and Chancay figurines is discussed in Chapter 8: hopefully further advances in the study of the Huaura culture and ceramics will elucidate the exact interconnection between the two cultures. 1 Because of its unusual appearance and its provenance, this figurine was not included in the North Coast sample (Vol. I).

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SUB-GROUP 1.5.1: EARLY CHANCAY-HUAURA CUCHIMILCOS

Table 32 Plates 69, 70 Sample: 6 figurines (examined 3) Measurements Maximum Height (6): 58.0 cm Width (5) 39.0 cm Thickness, Weight: not registered

Minimum 48.5 cm 24.3 cm

Median 55.2 cm 27.2 cm

GROUP CHARACTERISTICS

Large standing specimens with extended arms. Head: Relatively small; the four red base 3-colour geometric specimens (2253,2423, P530, P531) have a slightly rounded crown, the profile is unknown; the two white base 3-colour geometric specimens (1407/1408) have a higher, broader, flatter crown and a marked fronto-occipital deformation in profile; the face, tilted upwards, has normal proportions, with minimal modelling; complex face markings, with zoning around the eyes, mouth-to-chin lines, outlining of the chin; the male P531 has three diagonal section of different colours across his face, with triangles around the right eye and stubble around the mouth. Elliptic eyes with raised lids, painted eyeballs and pupils; nose with nostrils and alae; modelled lips on red base 3-colour geometric, incised, with painted lips on 1407/1408; semi-circular ears, conch-like on red base 3-colour geometric, tabs on white base 3-colour geometric; prominent semi-circular chin on 2253, slightly more pointed on others, all outlined in black; normal neck. Body: The red base 3-colour geometric specimens have a rotund body with hardly any shoulders, tapering towards the feet. Very short arms, raised sideways and upwards; large, concave hands with five triangular fingers; completely separated legs, some modelling of the knees, ankle-bones on 2253, 2423, short, compact feet with incised toes. The three females have large genital triangles (incised?), outlined in paint, with small designs on P530 and an incised vulva (outlined in paint on P530). The male has a penis and testes. All have large nipples and a protruding umbilicus. Profile and back unknown. The 3-colour geometric specimens have a straight body, thinner, slightly longer arms raised upwards and forwards; small hands, painted fingers. Completely separated cylindrical legs lacking modelling, large feet, painted toes. The female has a large painted genital triangle, with circle-and-central-dot decor, an incised vulva and tiny modelled breasts, the male has a small erect penis (brown with a red tip), no testes, small nipples; the area around the umbilicus is elaborately painted on both. The back is slightly convex, plain. Clothing, accessories Headdress: Red base 3-colour geometric: on the female 2253 low slightly angular cap, with appliquéd edge and painted band; the female 2423 has two small perforated lugs on the rounded crown, the female P530 has a rounded crown only, both with a painted border band, the one on P530 with a complex (fleur-de-lis?) design; the male P531 has two long conical picos on his rounded crown and a plain border. The white base 3-colour male headdress has a crown decorated with a chess-board design, topped by three short, triangular, perforated picos, and a plain border; the female head-dress has a decor of broad vertical bands, decorated alternatively with clusters of dots and chess-board patterns; the horizontal border shows a meander-and-dot design. Clothing or body-paint: On red base 3-colour geometric specimens the clothing is shown by a painted line around the neck, a vertical band decorated with broken-line-and-dots (2423), criss-cross (P530) and a more complex motif (P531), as well as an overall decor to the waist (2253:crosses?, P530, P531: crosses or “bird-feet”, 2423: unclear); transversal lines across the waist, the arms and legs. On the white base 3-colour specimens body-paint, rather than clothing, may be indicated by an overall decor on the chest and thighs (circles with central dots on the male, composite crosses on female). Both feature a broad painted line around the neck, a broad belt and transversal lines across the arms and legs.

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Manufacture: The figurines appear hand-made, probably with mold-made heads. Three are hollow, one specimen has air-holes under the armpits, two are probably hollow, but have no air-holes; the air-holes P530, P531 are unknown. Four specimens are made in red base 3colour geometric ware, which appears well fired, with black and white decor on an orange or ochre slip; P530/P531 appear to have fugitive red paint on the face. The two white base 3colour figurines have a pinky-buff slip with brown and red decor. Some features are incised. DISCUSSION

The Huaura influence is shown in the occurrence of males, the male/female couples, as well as the male headdress with picos, while the shape and proportions of head and body, decorative elements and the wares, especially the white base 3-colour geometric ware, are specific to the Chancay culture. Special features, links with other groups • 2423 has small lugs on the headdress, reminiscent of Chancay Group 3, but not known in this form on Chancay cuchimilcos or on Huaura females. • The face-paint on P531, with its three diagonal sections and triangle around the right eye, is quite unique; the stubble on his chin also occurs on P488, P489/Huaura sg. 2.3/Pl.38. The triangles painted around the chin of 1407/1408 are also unusual. • It is interesting to note the decorative traits shared with 674/Pl.52/Chancay 1.3.1 (see Pl.56): bird's feet (P530, P531), composite cross with central dot, a triangle with appendages outlining of the umbilicus (1408), broad belt, plain painted band at neck, etc. The specific meander head-dress border of 1408 also occurs on P502/1.3.2. • The circle-with-central dot on the male 1407 becomes the hallmark of the Chancay-Huaura males (see below 1.5.2). Exceptionally the female 1408 also features circles with central dots—normally an exclusively male motif—painted in the pubic area! Context, Geographic distribution: no data. Chronology The red base 3-colour geometric ware (with additional post-fired red face-paint on P530, P531), is common in Chancay phases 1 and 2. The derivative fleur-de-lys motif (?) on the head-dress border (P530) is late Middle Horizon in inspiration, whilst the bird's foot bodypaint motif on P530/P531 is typical for early Chancay. That and the extended arms date nos. 2253 to P530 to Chancay phase 2. 1407/1408 are made in typical white base 3-colour geometric Chancay ware, with such decorative motifs as the composite cross with central dot (see Pl. 56) and the meander headdress border on the female (1408), whilst the large circles-with-central dot become the hallmark of the Chancay-Huaura males (see below 1.5.2). The overall aspect is closer to classic Chancay, so the later part of phase 2 seems a plausible date. SUB-GROUP 1.5.2: BLACK-ON-WHITE CHANCAY-HUAURA CUCHIMILCOS

The main iconographic traits—which do not occur on classic Chancay cuchimilcos (sgs. 1.4.1, 1.4.2)—are either Huaura-derived or specific to this sub-group. The Huaura-derived characteristics are the occurrence of male/female couples and of males with outsize genitals, and a headdress with vertical stripes and/or picos. Features specific to this group are male figurines with an undeformed head and a plain rounded cap (see sg.1.5.2B), male body-paint consisting of large circles with central dot or—more rarely—of a bird, and female body-paint featuring fish. Finally, some traits are partly shared with other Chancay groups: male/female face-paint consisting of zoning of the lower part of the face, a more stylized body, an appliquéd belly-button, the female headdress shown as a low decorated cap (no longer stripy as in Huaura, nor plain, with a decorated border band as in Chancay); two fajas crossed over

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the abdomen do occur in 1.4.1B, but here they are practically standard. A rare feature are female genitals with a prominent clitoris. Technically the figurines appear generally hand-made (though some may have a moldmade head), with a rougher surface and air-holes in different positions than the majority of classic Chancay cuchimilcos (mainly at the ears, mouth, nose, rarely at the waist), more akin to the "baroque" Chancay cuchimilcos. Although the ware is basically black-on-white, the hues are often reddish-brown on a pink-buff grounding; red can be added, mainly in the facepaint. The majority of figurines are very large and exceptionally heavy, often weighing well over 1 kg. This may partly be due to the fact that some—but not all—are filled with sand, perhaps to give them greater stability. This sub-group is divided into three further sub-groups, though the criteria for the subdivisions are not very strict. For instance the Cantores (1.5.2B) are defined by their wide open mouth, but a number of the typical cuchimilcos (1.5.2A) also have an open mouth, though much smaller – so drawing the line is a problem. The three sub-groups are : Sub-group 1.5.2A: Typical Chancay-Huaura Cuchimilcos Sub-group 1.5.2B: Chancay-Huaura Cantores Sub-group 1.5.2C: Chancay cuchimilcos with Chancay-Huaura features The sub-groups are discussed together. SUB-GROUP 1.5.2A: TYPICAL CHANCAY-HUAURA CUCHIMILCOS

Table 32 Plates: 70-72 Sample: 27 figurines + 3 atypical (examined 20) Measurements Maximum Minimum Median Height (22): 57.5 cm 32.4 cm 46.0 cm Width (14) 36.0 cm 17.0 cm 27.0 cm Thickness (11) 13.0 cm 9.0 cm 11.0 cm Weight: only recorded on four specimens, all more than 1 kg; one specimen with a height of 49.4 cm is recorded as weighing over 3 kg! GROUP CHARACTERISTICS

Mostly large but fairly diverse figures. Head: Generally wider than high, the sides are straight or slightly tapering towards the chin. The crown is basically flat, rectangular; narrow at the top in profile (fronto-occipital deformation), broadening towards the neck. Face: Mostly broad and foreshortened, little modelling, except for prognathism of the mouth area on some specimens (e.g. 1127/Pl.71). Face-paint is sex-related: males mostly have the whole face painted, occasionally with a line from the forehead to the chin (exceptions: 459, 2245/Pl.71 with vertical stripes covering the face, 1445, P538/Pl.71 lower cheeks and mouth only, 1741/Pl.71 tearFig. 44 lines); females mostly have paint covering the lower cheeks and mouth and all have a variant of the classic "specs" from the corner of the eyes towards the temples: double (e.g. 155/Pl.70) or triple lines (e.g. 571/Pl.72), some with curlicues (e.g. 2246, P537/Pl.71); 326/Pl.71 has triangular appendages at the corners of the eyes. Eyes: Great variety in shape and rendering: mostly circular and appliquéd (e.g. 1633/Pl.70, 1127, 459/Pl.71), sometimes elliptic, molded (e.g. 155, 1635/Pl.70); the raised lids can be outlined by an incision or painted, the eyeballs can be raised or flat; the pupils are mostly painted black. Nose: quite large, often pointed, with nostrils, but alae are rare. Mouth: varies in shape, often prognathic, nearly always slightly open (air-hole!); lips can be painted (e.g. 155/Pl.70), modelled (e.g. P537/Pl.71) or appliquéd (e.g. 1127/Pl.71). Ears: Small, semi-circular, concave, with central perforations. Chin: rounded, often with projecting tip. Hair: the female 1740/Pl.71 has a fringe of "hair" (monkey's hair or dyed fibre?) stitched through the holes in the headdress (see fig. 44). Neck: always shown at front and sides, but rarely the back. Body: Large, heavy, often stylized. Shapes vary from flat with straight lateral outline to bulging around the waist and tapering towards the legs. 155, 156/Pl.70 show modelling of the 208

thoracic cage; the males 156, 1635, P533/Pl.70, P538/Pl.71—and unusually the female P539!/Pl.71—have protruding hip-bones. Arms: Placed high on the body, so that the shoulders are not shown, always extended sideways and upwards; mostly very short and broad (e.g. P534/Pl.71), eight specimens (e.g. 155/Pl.70, P537/Pl.71) show elbows. Hands are flat, fingers are either short incisions (e.g.156/Pl.70, 1127/Pl.71), and/or painted (e.g.2245/Pl.71), only 1127, 326/Pl.71 have painted hands. Legs: completely separated, modelled, varying in thickness or length (cf. 1633/Pl.70 with 2246/Pl.71), very bulky on P535/P536/Pl.71, slender on 2267/2268/Pl.71, sometimes with painted knee-caps (five figurines, e.g.155); 14 specimens have ankle-bones (e.g. 1633/Pl.70). The feet are very flat, often protruding all round, toes are incised or just notched, note wide apart toes on 571/Pl.71, no toes (P533, P534/Pls.70, 71). Most specimens can stand unaided, but many are slightly askew 1 (e.g. 1445, 2267). Genitals: There are 15 males and 12 females, including eight couples. The males have a realistically modelled penis with a perforated, sometimes painted, tip and appliquéd testicles The females have a raised and/or incised genital triangle (outlined in paint on 155, 1633/Pl.70, P537/Pl.71), an incised vulva and/or a prominent clitoris (1633/Pl.70, 326, P537/Pl.71, 571/Pl.72). Nipples: appliquéd, often also painted are shown on both sexes (except on 1090/Pl.70, a male). Umbilicus: 18 figurines (over 50%) have a small appliquéd belly-button (e.g. 29/Pl.71), the rest an incision or large depression; only 2245/2246/Pl.71 lack an umbilicus. Back: Over half show the top of the headdress and crossed fajas (tunic on 1127/Pl.71), often also a modelled groove down the spine; 1445/Pl.71 has an appliquéd strip on the lower back, some modelling of the buttocks on 1740/1741/Pl.71. Clothing, body-paint: Headdress: All the males have a fairly high headdress with three short picos 2 (often with a perforated tip), except 1090/Pl.70 with four picos (two broken); exceptionally for a male 459/Pl.71 has only a small indentation (bilobation?) at the center of the headdress; the male headdress is always painted with vertical stripes: five stripes (e.g. 156, 1635/Pl.70), three "composite" stripes, i.e. wider stripes with narrower stripes on either side (e.g. P534, 2245/Pl.71), one central stripe (e.g.1090/Pl.70, 2268/Pl.71 etc.); on 459/Pl.71 the three composite stripes also cover the face. The females wear a low rectangular cap with a fairly wide criss-cross design (155, P532/Pl.70, 1446, P539/Pl.71), or a higher headdress, topped by a narrow band, decorated with a step motif at the top (1633/Pl.70, 2246, P537/Pl.71, plain on 571/Pl.72, with additional diagonal lines on P536/Pl.71); 2267/Pl.71 wears a low headdress, consisting of a band with broken lines and dots. Only three figurines (1446, 1740Pl.71, 571/Pl.72, all females) have perforations through the top of the headdress (always five, not airholes). The majority (male or female) wear two painted fajas crossed over the chest (on 29/Pl.71 only visible at the back), 1090/Pl.70 also wears a belt. Exceptions: the males 1127/Pl.71 with a waist-length shirt, 2268/Pl.71 with a collar (?) of pendant triangles (front and back), the female 151/Pl.72 with a smudge across the abdomen; no fajas on the males 156/Pl.70, 2245/Pl.71, instead they have circles with central dot painted on the chest; the same motif is also painted on the legs of the males 1635, 1090/Pl.70, 1445, P538?/Pl.71. The females 155/Pl.70, 2246, 2267/Pl.71 have stylized fish on their arms, hands and/or legs. Finally many specimens have lines painted across their arms (e.g. 155/Pl.70) and/or legs. 155, 156 and P532/Pl.70 were found wrapped in textiles. Manufacture: Hand-made figurines, some specimens may have mold-made heads, hollow, but often very heavy. Air-holes are often multiple, involving the mouth (19), ears (12), nose (3), male headdress (4) armpits/waist (4), penis (1), vulva and anus (1), the most frequent being combinations of mouth, ears, nose (6). Not recorded on eight specimens. Wares vary, but are generally rather coarse, with an unburnished surface. The figurines are decorated with slip paint, basically bi-chrome black-on-white, but the colours go from reddish-brown to black on a grounding varying from buff to white with a yellow or pinky hue; a few specimens have additional red face-paint, in some cases post-fired.

1 2

This was often rectified when scanning the photos – but is in fact a characteristic feature! The picos are probably broken on P538/Pl.71. 209

Atypical 776: Female, shares characteristics such as the face (appliquéd eyes, prognathic mouth, minute ears), the short extended arms, ankle-bones, face- and body-paint ("specs", crossed fajas, lines across the arms and legs) and the broken-line decor of the head-dress, but differs from the above by the extreme stylization of the flattened head and very elongated legs, the very flat profile and the small incised rectangular genital triangle. Hand-made, hollow, with one airhole at the mouth, grey and red on cream base. Definitely authentic. 2274: Shares the open mouth, the male sex, small flat feet, the body-paint of circles and dots. Differences: Shape of head, important molded and painted eye-brows, large elliptic eyes with dark eye-balls, folded arms, molded hands with painted finger-nails and dots at the base of the fingers; diminutive penis, no testicles; absence of headdress or clothing. Head may be moldmade? Air-holes at the ears and mouth; brown on pinky-buff. 2241: Only shares the open mouth, the male sex, with its outsize painted penis, no testes, the overall face-paint and painted outline of the chin. Differences include: the shape of the head and body, the arched, painted eye-brows, large eyes (as on 2274), pointed nose, large concave ears; the short arms extended forward, ending in large flat hands without fingers, short legs; no body-paint; the low headdress, which should have picos, since this is a male, has sixperforations – an unusual number. Could be partly mold-made, air-holes at the mouth and under the feet; brown and dark red on yellowy white. The specimen could be a fake, but was not identified as such when examined. But both 2241 and 2274 comes from a private collection containing a number of unusual specimens. SUB-GROUP 1.5.2B: CHANCAY-HUAURA CANTORES

Table 32 Plates 72, 73 Sample: 20 Figurines + 3 atypical (examined 16) Measurements Maximum Minimum Median Height (18) 76.0 cm 22.0 cm 46.7 cm Width (15) 36.0 cm 15.5 cm 28.0 cm Thickness (12) 19.4 cm 7.4 cm 11.0 cm Weight: Many weigh over 1 kg.; 584 is said to way circa 7.5 kg.: some figurines are filled with sand. GROUP CHARACTERISTICS

Standing figurines with wide open mouth, hence their name cantores 1 (Lavalle and Lang 1982). The group includes the biggest figurine of the study sample (584/Pl.73: 76 cm). 11 specimens have a rectangular head with a typical male or female headdress and a flat profile (cranial deformation); nine figurines have a rounded head, some only slightly flattened in profile (e.g. 581/Pl.72,73, 1089, 577/Pl.73), others completely flat (1146, 1866/Pl.73). Face: Varies from quite naturalistic (e.g.581/Pl.72) to very stylized (e.g. 584/Pl.73). Minimal modelling of the eye-sockets on a few specimens. Face-paint of both males and females mostly covers the lower part of the cheeks and the chin, sometimes with an additional horizontal line above; on 581/Pl.72 the face-paint covers the cheeks, on 2254/Pl.73 the whole face; both, as well as 1089/Pl.73, have a vertical line from the forehead, over the nose and/or mouth to the chin; the male 2424/Pl.73 has a triangle on the forehead and a circle and dot on each cheek; 1146/Pl.73 has three vertical lines down the cheeks (tear lines?) and incised noseto-chin lines. "Specs" are shown on some—though not all—females (1235/Pl.72, very short on P542/Pl.72, placed above the eyes on 584/Pl.73), but exceptionally also on males (very short on P543Pl.72, above the eyes on 2424/Pl.73); the "specs" can be elaborate (e.g. 1235/Pl.72, P540/Pl.73), but are mostly vestigial (e.g. 2424, 584/Pl.73 with three very short lines starting from the center above the eyes); on 524/Pl.72 the "specs" are not connected to the eyes, but part of the head-dress decor! 1866/Pl.73 has no face-paint. Eyes: the classic Chancay eye is rare, it is now more elliptic, with painted and/or incised lids, appliquéd on Royo (2010: 78) calls them Camanchacos, because of an (unexplained) link with a group of fishermen around Camaná?

1

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1146/Pl.73, painted eye-balls; eyebrows: arched, only shown on 2254, 577/Pl.73. Nose: Fairly large, mostly straight, with some modelling of the nostrils, but alae are rare; some painting along the bridge or at the tip. Mouth: Always open, often very large, with or without modelled lips. 581/Pl.72 shows modelled teeth inside the mouth. Ears: mostly semi-circular tabs, larger than in sg. 1.5.2A, naturalistic on 581/Pl.72, 1146/Pl.43; over half are perforated. Chin: Often pointed or oval, not jutting in profile. Hair: painted on 581/Pl.73, ending in a point above the neck in the back; incised at the sides and back on 1866/Pl.73. Neck: Can be unusually long and thin (e.g. 581, P546/Pl.73). Body: Varies greatly, from elongated to fairly squat (cf. 2425 with P540/Pl.73). Lateral outline generally straight (exception P540); some modelling of the thoracic cage on 1236, 1811, 581/Pl.72, 1089/Pl.73. Arms: as in 1.5.2A, starting low on the body on 2424 and 1146/Pl.73, elbows shown only on 1235/1236/Pl.72; hands and fingers mostly as in Fig. 45 1.5.2A, but large, paddle-like hands without fingers on P541 to 581 (unusual painting on the back of the hand of 581 (see Fig. 45). Legs: completely separated, straight, tubular, greatly differing in length; no modelling, except on 1146/Pl.73; ankle-bones on five specimens. Feet as in 1.5.2A, note modelled toe-nails (1146). Genitals: 11 males (577/Pl.73 identified by its headdress), nine females, three couples 1. The females have a raised/incised genital triangle, with an incised vulva, 2425 and P546 also have a modelled clitoris. Males have a very naturalistic penis and testicles. 2424/Pl.73 is ambiguous: it has a painted genital triangle—a female characteristic—and male genitals located just below the waist; the head-dress is male, the "specs" female. 1146/Pl.73, a male, also has an genital triangle (incised). Breasts or Nipples: shown on most figurines, male or female (punctated on 1866/Pl.73), except on P543, 581/Pl.72, 1089?, 2254, 2424, 1146/Pl.73, all males. Umbilicus: shown as a depression (appliquéd: 581/Pl.72) on all except 2254/Pl.73. Back: Not recorded on the published figurines. Vertical groove on three specimens, outline of buttocks and appliquéd necklace ties (?) on 1146/Pl.73, painted hair (581/Pl.73), incised hair (1866/Pl.73). Clothing, accessories: Headdress: The female head-dress is low, with all-over designs such 1) broken lines (with filler dots 1235/Pl.72) or plain Fig. 46 (1811/Pl.72, 584/Pl.73), 2) criss-cross design (2425, P540/Pl.73), or 3) a variant of Border 6.1 (P542/Pl.72), see Pl.56. The male headdress can be the traditional Huaura shape with three picos (1234, 1236/Pl.72), or very high with one central pico on 2036/Pl72; but here we also see an unusual plain rounded cap, with a narrow appliquéd edge (P541, P543, 1089); 577 and 2424 have the same rounded cap, each with two small picos, 577 with a painted border; 2254 has a painted head, indicating hair or a headdress, 581 has a plain band on painted hair; 1146 is unique in having no head-dress. The males P541, P543 and 581/Pl.72 have a rectangular projection on the left temple (slightly different on 581), part of the headdress? (see Fig. 46). Clothing, body-paint: All the females, except 1866/Pl.73, and some of the males, wear crossed fajas; in addition the females 1235, P542/Pl.72, Fig.47 2425, 584/Pl.73 have fish painted on their arms. All the males are adorned with large circles-and-dots, (2254 with plain dots only); the males 1236/Pl.72 and 1146/Pl.73 also feature a painted stylized bird (see Fig.47); exception: 577, 2424/Pl.73: no body-paint. There are no transversal lines across the arms and/or legs, except on the arms of P543/Pl.72. Ear-plugs: Disk ear-plugs with cross-and-dot design, protruding at the back (2425, 584, 2424?/Pl.73). Necklace: 2424/Pl.73 wears a necklace with several pendants (picture unclear);, 1146/Pl.73 has a band attached round his neck, with ties hanging at the back, 1866/Pl.73 has a narrow incised band with incised broken-lines decor.

1 2424-2425/Pl.73 differ significantly in size, but both belong to this group: as they were sold together at auction, we can assume that they were found together and represent a couple.

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Manufacture: Hand-made, hollow figurines; multiple air-holes as in 1.5.2A, involving mouth (19), ears (12), nose (4), armpits/waist (5), headdress (1); marginally more frequent at armpits/waist than in 1.5.2A (28% as opposed to 21 % of recorded specimens); only partially recorded on four (published) specimens. Air-holes can be extremely large (3 cm diameter on 581). Paste and surface finish as 1.5.2A. Atypical: 1796: is not a cantor as its mouth is shut, but is included here because its rounded head—only slightly flattened in profile—only occurs in this sub-group (cf 577/Pl.73); it also shares the explicit virility, facial traits, face- and body-paint, appliquéd belly-button. Atypical features include the closed mouth, headdress with a wide plain border and a single long pico (with an appliquéd band around its base); note the collar of pendant triangles at the back. Hand-made, hollow, air-holes at waist, rough buff surface, with brown, red and orange decor. 797, 457: are both cantores and 797 wears a similar headdress as P541, P543/Pl.72; but both lack the overall shape and especially the typical face- or body-paint of this dub- group. Other differences include: the pointed nose, the band fastening the head-dress, the loin-cloth and unidentified accessories (a digging stick?) hanging from the neck (797). 457 has wide face, short nose, ears placed very low; very long, globular body with short legs (arms broken), male genitals (penis missing) and an unusual small headdress. Both are hand-made in the same coarse ware as most of this group, with typical Chancay-Huaura colouring. SUB-GROUP 1.5.2C: CHANCAY CUHCIMILCOS WITH CHANCAY-HUAURA FEATURES

Table 32 Plate 74 Sample: 4 Figurines (examined 4) Measurements: Maximum Minimum Median Height (4) 40.0 cm 20.0 cm 33.7 cm Width (3) 23.9 cm 13.0 cm 20.1 cm Thickness (4) 11.4 cm 5.8 cm 10.0 cm Weight (4) 2.790 gr. ca 500 gr. over 1,000 gr. GROUP CHARACTERISTICS

These four figurines have a typical Chancay look but additional Huaura features. The heavily built female (456) is included here because of its similarity with the three males and its dissimilarity (size, weight) with either of the classic Chancay cuchimilco sub-groups (1.4.1A, B or 1.4.2). The heads and faces are classic Chancay, especially their extremely flattened profile, but have Huaura-derived face-paint (1257: cheek zoning, 576 originally with the whole face painted). The body is also recognizably Chancay—especially in profile— with some modelling of the waist, also of the buttocks in the back. The arms and legs correspond to the Chancay norm; note the very broad profile of the legs on 576, 456. Three specimens are male (with penis and testes), one female with incised genital triangle and vulva; all four have nipples; all except 793 have an umbilicus. The male headdress has the three typical Huaura picos, also with vertical stripes on 1257, but with a large Chancay border band on the male 576 (details unclear). The female headdress has the Chancay shape, though it is extremely high, and lacks perforations and any painted decor is no longer visible. No clothing or body-paint. Manufacture: Probably mold-made; hollow but heavy , with air-holes through the ears only (1), the waist only (1), or both (1), and multiple air-holes on 793. The ware is coarse, the surface finish varies: 1257 appears unslipped, with red and black decor, 576, 793 and 456 show traces of yellowy-white slip with red or black decor. DISCUSSION (SUB-GROUPS 1.5.2A – 1.5.2C) Special features Many special features have been listed in the Group Characteristics. But a special mention must be made of the pronounced sexuality of these figurines, with outsize (though not erect)

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penises on the males and a modelled clitoris on many females. This is in contrast to the classic cuchimilco with its underscored female attributes. Another interesting feature is the gender differentiation of the body-paint: fish are painted on the arms or legs of some females, birds appear on the chest of some males. Rostworowski links the two symbols in the goddess Urpayhuachac, described as “...creadora de los peces, relacionada con las aves marinas o guaneras, y adorada por los pescadores” (1973:20). She sees this goddess in a figurine with both a fish and a bird painted on its chest (1062, Chancay 1.1.2/Pl. 47). In early and classic cuchimilcos birds are often linked to females: painted in the pubic area (e.g. 1892/1.3.2/Pl.53), as headdress border motifs (1251, 1430/1.4.1A/Pl.57) or in the face-paint (1547/1.4.1A/Pl.58). What is significant in the Chancay-Huaura figurines is that the two symbolic elements, the bird and the fish, are sexspecific and separate. The fertility symbolism linking female and fish is also strongly expressed in Nasca figurines (Morgan 1988), but as yet the equivalent link of man and bird has not come to my attention. Note the sexual ambivalence of 2424/Pl.73/sg.1.5.2B: the ear-plugs, the vestigial "specs" and the outlined genital triangle are female attributes (cf. 584/Pl.73/sg.1.5.2B), accompanied by male genitals, awkwardly located just below the waist. Other rare traits on the same specimen are: the face-paint (inverted triangle on the forehead, circles on cheeks) and the necklace with pendants (otherwise shown on females, cf. 572/Pl.1.4.3/Pl.68). This specimen, which does not look like a fake, may represent a hermaphrodite, not unknown in preColumbian Peru (Cabieses 1974: vol.1, p.111). Vestigial "specs" also occur on another male in this sub-group (P543/1.5.2b). What can be the meaning of the open mouth in sg. 1.5.2B? Some figurines in 1.5.2A have pursed lips, with only a small opening, perhaps depicting the way Calancha describes the act of praying ("mocha") “...hacer ciertos sonidos con los labios, como quien besa...”. This may have developed gradually into an open mouth. No other Chancay figurine group nor, to my knowledge, Chancay face-necks ever have open mouths. But they do occur during the Late Horizon. Also of interest is that three cantores, possibly more, have no obvious cranial deformation. Two male cantores (P541, P543/Pl.72) have a narrow rectangular projection on their left temple, a unique and unexplained attribute. On 581/Pl.72, also a cantor, a similar feature (hardly visible) looks more like the hanging ends of a ribbon tied around the head. Links with other groups Huaura-derived features, such as the occurrence of male/female couples and of males with outsize genitals, and a headdress with vertical stripes and/or picos. Note also the occurrence in sg.1.5.2B of a male headdress with two picos (577, 2424), a rarer Huaura feature (see 606, 608, SAC 249, SAC 097/ Pl. 39/Huaura sg.2.3). Traits partly shared with other Chancay groups, especially with the "baroque" sg. 1.4.3/Pls. 68, 69 (and sg. 1.5.3 below) are: the zoning of the lower part of the face, a more stylized body, an appliquéd belly-button; see also the hanging triangles (cf. 2268/1.5.2A/Pl.71 and 1796, atypical/1.5.2B/Pl.73 with 226, 583/1.4.3/Pl.68. Two fajas crossed over the chest do occur in sg. 1.4.1B, but in 1.5.1A and B they are practically standard. Sub-group 1.5.2C is pure Chancay, except for features such as the headdress. There can be no doubt that sg. 1.5.2 as a whole express a tradition somewhat different from classic Chancay. The differences are not only iconographic and stylistic, but also technological (heavier specimens, different position of air-holes, rougher paste, differences in colour). If we assume that there is no significant time difference between classic Chancay and Chancay-Huaura of phase 3 and if both were manufactured in the same area (see below), we must examine models which could explain such differences: a) The specimens were manufactured in the Huaura valley and exported: a possible model only if this sub-group (including related vessels) is exclusive to the Huaura area. Considering that the Chancay-Huaura sub-group is always classified as Chancay, we don't really know what pottery is referred to as "Chancay" in a Huaura Valley context. Furthermore this model 213

would not explain the subtle differences in style, especially of the earlier specimens (sg. 1.5.1), nor the fact that some actual Huaura figurines (Huaura sgs. 2.2, 2.3, 4) could be contemporary of the Chancay-Huaura figurines of phase 3: they would represent the figurines produced in the Huaura valley at that time. b) Chancay-Huaura figurines were manufactured by Huaura immigrants in the Chancay and Ancón areas: Rostworowski (1978:127) reports that at the time of the Conquest, the Chancay Valley was under the control of the curaca of Huaura and that he dispatched mitmaes to Chancay. We cannot know how far back in time this scheme goes and what implications it has regarding the ethnic composition of the population, but it might provide a clue to the coexistence of the two stylistic traditions. c) The figurines were part of a cult or mythical tradition, involving a male/female couple, originating in the Huaura valley towards the end of the Middle Horizon (see Huaura Gr. 2, Chapter 8), a cult which had spread southwards by the Late Intermediate. The iconography of the figurines and even their manufacture is still determined by the original religious context. d) A different function (see below, Context). Context There is no documented context for any specimen in these sub-groups, but like other cuchimilcos they probably come from graves. However the exceptional heaviness of these figurines and the fact that, unlike the classic cuchimilcos, many were found filled with sand, presumably to give them stability, suggest that they may have been used in another context, prior to burial. A different function could be yet another explanation for the differences between this sub-type and classic Chancay figurines. Geographic distribution Chancay 1.5.2A Certain Fairly reliable Unverifiable Chancay 1.5.2B Certain Fairly reliable Unverifiable Chancay 1.5.2C Certain Fairly reliable Unverifiable

Huaura Valley Chancay Valley 2 1

1

Ancón

1 6

2

3 2 +1?

1?

2

Of the nine certain or fairly reliable provenances (under 16 % of the figurines!), five are from Huacho, four from Chancay. Overall there are six provenances for Huaura against twelve or thirteen for Chancay. This would indicate that the majority of these figurines were made in the Chancay valley, though there are really too few provenances to suggest this. The (unverifiable) provenances from Ancón are not corroborated by the material excavated at the site. There are no provenances at all for the Chillón valley. Chronology In the absence of gravelots, the main basis for dating are Chancay features such as the use of the bi-chrome black-on-white ware, combined with extended arms, the occurrence of "specs", the lack of a large outlined genital triangle and Huaura features such as the phasing out—on the females—of the stripy headdress Sub-group 1.5.2A dates mainly to phase 3, probably to the later part. Some traits, which in typical Chancay figurines tend to be early (circular eyes) or early and late (horizontal lines across the legs) appear here together with such phase 3 features as the crossed fajas. The atypical 776, with its unique body, 2274, 2241 (all Pl. 72) with no head-dress—a common Late Horizon feature (cf. LH Group 1/Pls.111, 112)—large arched eye-brows and eyes definitely date to Chancay phase 4.

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Sub-group 1.5.2B/Cantores: most figurines in this group are "baroque" both in shape and decor. Note the vestigial triple "specs" on P542?pl.72 or 584/Pl.73, as if the artist no longer understood this feature; the modelled toe-nails (1146/Pl.73) are also late (cf. 583, 575/\pls. 68,69/sg.1.4.3); the absence of head-dress (1146/Pl.73), the incised mechones (1866/Pl.73), are also LH features. Other features like a border band with a broken-lines-and-multiple-dots design (1235/Pl.72) or double incisions at the waist (1235, 1236/Pl.72) are also late (cf. chronology Chancay sg. 1.6). The atypical 457 has an appliquéd head-dress border: this could be early, but here it lacks perforations (cf. 675/Pl.46/sg.1.1.1, 794/Pl.47/sg.1.1.2), and its extended arms (now broken) also point to phase 3. The sub-group dates to late phase 3/phase 4. The atypical 797/Pl.73, with its unusual loin cloth and appendages could even be early colonial. Sub-group 1.5.2C: The figurines have a typical classic Chancay look and—in the absence of other diagnostic features—must be assigned to phase 3 . SUB-GROUP 1.5.3 : A CHANCAY-HUAURA VARIANT: CUCHIMILCOS OF THE JECUAN SUB-STYLE

Table 32 Plate 74 Sample: 16 figurines (examined 12) Measurements Maximum Height (16) 37.0 cm Width (16) 23.0 cm Thickness (16) 12.0 cm Weight (12) over 1000 gr.

Minimum 13.5 cm 8.3 cm 4.9 cm 230 gr.

Median 22.8 cm 15.8 cm 6.5 cm 570 gr.

GROUP CHARACTERISTICS

This sub-group of 16 figurines (all female) represents a distinctive sub-style. The name suggested for it comes from the resemblance with pottery excavated by Uhle at Jecuan, Chancay valley, in particular a similar face-neck (Kroeber 1926b: Pl. 81E, see Fig. 48). Its inclusion into the Chancay-Huaura group needs some justification: The figurines are related to classic Chancay in that they are mold-made and of the typical Chancay ware. They are similar in size to the small classic cuchimilco (sgs. 1.4.1A,B) and many also have a typical Chancay body-shape, especially in profile; finally there are no males in this sub-group. But some specific features—not necessarily all occurring on every specimen—distinguish the figurines from classic Chancay specimens: mold-made features such as fingers or necklaces; painted decor such as the outline of the fingers, parallel lines across the abdomen. They are also much heavier and less than half of them have the typical air-holes at the waist. At the same time many Jecuan-style figurines share some Chancay-Huaura (sgs.1.5.2A,B) characteristics: the head-dress decor (mainly criss-cross design), more elaborate "specs" (usually triple, often with curlicues), even the open mouth (cf. 1305, 1936, 1282, 111). The diagonally crossed fajas and zoning of the lower cheeks, sometimes with a line above, are traits that can occur in classic Chancay, but are more typical of Chancay-Huaura. Some Jecuan sub-style specimens also occur amongst Chancay type 2 figurines (Chancay sg. 2.3.2). The head has a minimally rounded crown and fairly straight sides; always completely flat in profile (cranial deformation), straight or tilted backwards. Face: Modelling of the eye sockets; face-paint consists of covering the lower part of the face, with a line above on some specimens, sometimes also covering the nose (e.g. 1936), or separate painting of the cheeks (SAC 373), lines Fig. 48 from nose to chin (e.g. SAC 350); triple "specs", some with curlicues, rising at a sharp angle (single on SAC 350, damaged on 1915?). The eyes are classic Chancay eyes, with molded and painted lids and eyeballs. The nose can be slightly

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turned up; generally molded nostrils, sometimes also alae and groove between nose and mouth. The mouth is slightly open on 1305, 1936, 111; otherwise straight molded lips (not the classic shape). The ears are small lateral protuberances with a small depression (perforated on 1147, 51), placed rather low (except on 51). The chin varies: pointed or rounded, straight or jutting in profile. The short neck (longer on 1147) is always indicated at the front and sides. Body: varies from fairly large in proportion to relatively small (cf. 1936 with 1915), mostly with a straight outline (e.g. 1 147) and a broad chest, then tapering towards the feet (e.g. SAC 373). Modelling of the thoracic cage on SAC 431, SAC 350, 1147, 1921. The profile is mostly straight, widening at the feet, very much like classic Chancay (e.g.1305). Arms: mostly very short, fairly broad, extended sideways or upwards. Hands are shown by fingers, generally molded and painted, rarely incised (1147, SAC 466, 51); 1359, 1921 have convex hands without fingers. Legs: completely separated on 10 specimens, conjoined on four, no legs on 1743; great variety in length (cf. 1147 with 111). Feet are mostly bulky, protruding at the front and back (e.g. 1305). Toes tend to be molded (also painted on 1936, 111). SAC 466, 51 have ankle bones. Genitals: All specimens are female, generally with a raised, sometimes incised genital triangle, outlined in paint on 1936, SAC 431, mostly with an incised vulva. The sex of 1305 is deduced from the headdress and face-paint. Nipples: Always present (except on 1225, 1359). Umbilicus: Shown as a depression on 1147, SAC 350, 1743, appliquéd on SAC 431, 51. Back: Mostly no features, but a vertical groove along the spine and/or the crossed fajas and tunic can be shown; molded waist and buttocks on 1921. Clothing/body-paint: Headdress: Low cap with painted decor. The most frequent all-over design is criss-cross (seven specimens), steps (SAC 350, SAC 466), broken-lines (1743), diagonal lines with filler dots (SAC 373, 1743), spiral motif (51), plain black (1282). Perforations, often hardly visible, on six headdresses: 1936: nine, SAC 350: six in pairs of two, 1921: six, 1915, 1743: five. 1359: three. Clothing: eight specimens wear crossed fajas. 51 wears a short sleeveless tunic, decorated with circles. SAC 373 and SAC 466 have a square "net" painted on the abdomen, 1305, 1282, SAC 350, 1225, 1743 have one or three horizontal lines painted across the abdomen (on 1305, 1282 in addition to the fajas). Fish are depicted on the arms of 1305, probably also—in a very stylized version—on the arms and legs of 1147. 1743 is wrapped in a gauze. Necklace: single row of molded elongated beads (also painted on SAC 373, SAC 350) on seven specimens; painted line: 1147. Earplugs painted with dots on SAC 431. Manufacture: Mold-made, hollow (except 1359?) but relatively heavy figurines. Ware, surface finish and somewhat sloppy decor as 1.5.2 A, B. Air-holes: at waist (4), mouth (3) ears and waist (2), through chest (1) no air-holes (1), not recorded (4). DISCUSSION

There is undoubtedly a close resemblance with the Chancay-Huaura figurines (sgs.1.5.2A,B): the head-dress decor (mainly criss-cross design), more elaborate "specs" (usually triple, often with curlicues), even the open mouth (cf. 1305, 1936, 1282, 111). The diagonally crossed fajas and zoning of the lower cheeks, sometimes with a line above, are traits that can occur in classic Chancay, but are more typical of Chancay-Huaura. Context: No data. Geographic distribution: There are only two (unverifiable) provenances: one from Supe, one from Miraflores, Chancay. Chronology The black-on-white pottery excavated by Uhle at Jecuan (his site C), shows some features (curlicues, stylized fish) which occur on these figurines. Even more clearly related is the only published face-neck from the site (Kroeber 1926b:Pl.81E, see above (Fig.46), with its triple "specs". Unfortunately no figurines appear in Uhle's published Jecuan material. Uhle considered the ceramics from Jecuan to represent "...the older and middle phases of the White-and-black pottery of Chancay" (Kroeber 1926b: 293). However the figurines in this sub-group lack some features occurring on early black-and-white figurines with extended arms (1.3.3) such as facial "zoning", all-over body-paint of small motifs, a painted rather than 216

raised or incised genital triangle. We have also seen that some Chancay and Chancay-Huaura figurines with Jecuan-related features (cf. chronology of Chancay 1.4.3 and 1.5.2) could be quite late. Three Jecuan-style figurines have five head-dress perforations, also a late feature. So the figurines of the Jecuan sub-style date to Chancay phase 3, probably to the later part of that phase.

SUB-GROUP 1.6: CHANCAY CUCHIMILCOS IN RED OR BLACK WARES ( PHASES 3 AND 4) This sub-group—in turn subdivided in a number of smaller units—is clearly related to the classic black-on-white cuchimilcos, the differences being mainly in the wares and the manufacturing techniques (see Discussion). The quality of the figurines is less consistent than in classic Chancay: it can be of the highest standard but also very poor. Both sub-groups 1.6.1 and 1.6.2 contain small and large cuchimilcos, but the size of the sample and the great variety of features, make it impossible to create really homogenous groupings. Differences in the manufacturing techniques (two molds, mold- and hand-made specimens and especially the new technique of one frontal mold only) is reflected in the listing of the figurines, though the main criterion for classification of the figurines within each smaller unit has been the provenance. The aim was to establish whether the stylistic and technical differences could be explained as regional variants and to examine their relationship with the main-stream Chancay culture, as represented by the classic black-on-white cuchimilco. The resulting classification has produced two sets of three fairly discrete sub-groups, the third sub-group in particular representing a different technical trend. The sub-groups in question are: Sub-group : 1.6.1: Cuchimilcos in miscellaneous red wares Sub-group 1.6.1A: Medium-sized, mold-made, mostly hollow figurines + Associated Sub-group 1.6.1B: Larger, mold and hand-made hollow figurines, including sitting specimens Sub-group 1.6.1C: Small solid figurines, made of one frontal mold [or hand-made] Sub-group : 1.6.2: Cuchimilcos in black ware (reduced fired or with a black slip) Sub-group 1.6.2A: Medium-sized, mold-made, mostly hollow figurines Sub-group 1.6.2B: Larger, mold and hand-made hollow figurines, including sitting specimens Sub-group 1.6.2C: Smaller, solid figurines, made of one frontal mold (or hand-made) Sub-group 1.6 is described and discussed as one unit. Because of the great variety the description is only in broad lines: 1.6.1: Table 33 Plates 75-77 Sample: 47 figurines + 8 associated (examined 51) = 1.6.1A: 19 figurines + 8 associated; 1.6.1B: 18 figurines; 1.6.1C: 11 figurines 1.6.2: Table 34 Plates 78, 79 Sample: 29 figurines + 2 atypical (examined 24) = 1.6.2A: 8 figurines; 1.6.2B: 14 figurines + 2 atypical; Measurements 1.6.2C: 7 figurines Sub-group 1.6.1 (Red ware)

Maximum (cm)

Minimum (cm)

Median (cm)

1.6.1A Height (16) 20.3 8.3 16.6 Width (11) 11.5 6.4 9.9 Thickness (16) 5.6 1.9 4.1 Weight (5) 500 gr. 190 gr. 320 gr. 1.6.1B Height (Standing 8) 54.0 30.4 38.5 (Sitting 7) 24.5 7.7 19.8 Width (Standing) n/a: most specimens have broken arms (Sitting 6) 21.5 5.5 16.1 Thickn. (Standing 8) 13.5 3.3 9.9 (Sitting 8) 16.0 4.9 10.5 Weight (Standing 7) between 1,000 gr. and 3,900 gr. or more (Sitting 3) 790 gr. 70 gr. 660 gr.

Sub-group 1.6.2 (Black ware)

Maximum (cm)

Minimum (cm)

Median (cm)

1.6.2A Height (5) 17.6 10.2 12.6 Width (4) 12.7 7.3 9.8 Thickness (6) 7.7 2.9 5.0 Weight only two specimens weighed 1.6.2B Height (Standing 9) 48.7 20.3 40.5 (Sitting 3) 21.0 13.3 14.0 Width (Standing 7) 28.4 15.8 25.5 (Sitting 1) 23.0 Thickness (Standg 8) 12.3 6.0 9.5 (Sitting 3) 15.4 6.0 9.0 Weight (Standing 4) over 2,000 gr 760 gr. -(Sitting -)

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1.6.1C Height (10) Width (6) Thickness (10) Weight

1.6.2C Height (5) Width (5) Thickness (5) Weight (4)

18.5 3.9 10.8 9.0 2.7 5.5 4.4 1.2 2.8 only one specimen weighed (460 gr.)

11.9 8.4 3.8 155 gr.

10.7 6.3 2.6 80 gr.

11.6 6.9 2.9 150 gr.

GROUP CHARACTERISTICS (SGS. 1.6.1, 1.6.2)

The majority of figurines are standing, with extended arms and straight legs. Twelve figurines are sitting, seven of them hunchbacks. The shape of the head, with its tall rectangular headdress, is similar to classic Chancay, that is: very slightly rounded or straight; exceptions: P548, 1056, 1545/1.6.1B, and 283/1.6.2A, 781, 1745/1.6.2B, the four latter ones hunchbacks!, have a rounded crown, 31/Pl.77 has a rounded head with a bilobation. About 45% in sg.1.6.1 and 30% in sg. 1.6.2 have heads higher than wide. Flattened profile, indicating fronto-occipital deformation, at least on the hollow figurines. Face: normal to foreshortened proportions, with some modelling of the eye-sockets and/or incised nose-to-chin lines, but the classic face-paint, with “specs” and lower cheek decor has disappeared (traces on 1358, 124/1.6.1A and incised "specs" on a few black figurines (e.g. 1727, 1728/1.16.2C). Eyebrows: Important semicircular or elongated eye-brows, either molded (e.g. 841/Pl.75, 1088, 253/Pl.76, 880/Pl.77) or undercut (e.g. 373/Pl.77); note elongated eyebrows on P548/Pl.76, more common in 1.6.2B (509, 1466, 1467/Pl. 78); a few specimens have no eyebrows (e.g. 106/Pl. 76) or they are covered by the head-dress (e.g. 1025/Pl. 76). Eyes: Generally large, elliptic, with molded lids and eyeballs; some larger figurines have Chancay "composite" eyes (e.g. 880/Pl.77); 1369/Pl.78 has circular eyes. Nose: Either typical Chancay, i.e. fairly small, with nostrils and alae; or large, often upturned, with large nostrils (e.g. 253, 247/Pl. 76, 1421/Pl.78); note the hooked nose on the hunchback 2318/Pl.77. Mouth: Small, mostly with molded lips (e.g. 373/Pl.77) or tiny appliquéd mouth (e.g. 509/Pl.78); occasionally incised mouth (e.g. 642/Pl.77). Ears: Nearly always semi-circular, conch-like, protruding; often perforated (airholes) or adorned with ear-plugs; on some specimens ears inscribed within the headdress (e.g. 124/Pl.75, P554/Pl.79, on others there are no ears (e.g. 106/Pl.76). Chin: varies greatly: it is more often straight rather than pointed when facing, but often jutting in profile on the larger specimens. Neck: nearly always shown. The basic shape of the body is similar to the classic cuchimilcos, variations occurring in function of the size. On smaller specimens (sgs. 1.6.1A and C and 1.6.2A and C) the body is short (in proportion to the head), generally with fairly straight or slightly tapering sides and mostly a straight profile (note the "concave" profile of 1546/Pl.75 and the broad profile and posture—leaning backwards—on 280/Pl.78). The larger cuchimilcos (sgs. B) have a proportionally bigger body, with broad chests and sides tapering towards the feet; the profile is fairly straight, but can show the corpulence (e.g. 1748/Pl.76, 1466/Pl.78). The one standing and six sitting hunchbacks have a hump at the front as well as the back (exception 115/Pl.79: no hump on the chest); three other sitting figurines (1056, 1545, 31/Pl.77) have a rotund profile, but are not necessarily hunchbacks. Arms: extended, vary between very short, basically showing only stumps or hands (e.g. 413,1546/P.75, P548/Pl.76) projecting sideways or upwards; on some specimens the arms start very low on the body (e.g. 1437/Pl.75, 1421/Pl.78, 777/Pl.79); note the angular elbows on several figurines (e.g. 414, 1025/Pl.75, 1544, 253/Pl.76, 1318/Pl.77, 249/Pl.79) and the molded outline of the upper and lower arms inscribed within wing-like projections (235, 384, 238/Pl.77). Hands are generally circular, slightly concave, with or without incised or modelled fingers (cf 253 with P548/Pl.76. A relatively large number have no hands. Legs: The majority of the smaller specimens (sgs. 1.6.1A and C and 1.6.2A and C) have conjoined legs, whilst the larger ones (sgs. B) have separate legs, some with ankle-bones; feet are generally small, with or without incised toes. The sitting hunchbacks have either a) thin, tubular legs folded towards the front, with or without small feet (507, 2184, 373, 2318, 374/Pl.77, 115/Pl.79), b) no legs (1545/Pl.77) or only small feet (1056, 1318/Pl.77) or c) legs extended forward, with small feet; a few specimens (e.g. 369, 432, 1437/Pl.75) have horizontal lines painted across the legs. Genitals: All the figurines are females, with a raised and/or incised genital triangle—with a double 218

incision at the waist on eleven specimen (e.g. 369/Pl.75); a groove mostly marks the vulva; a double groove on four specimens (e.g. 432/Pl.75) may represent the clitoris?, it is explicit on 248/Pl.76; no genitals are shown on most hunchbacks (except 1318/Pl.77, 781/Pl.79) and two or three other specimens, clearly also females. Breasts: Nipples are shown on nearly 60 % of the figurines, punctated on nine specimens (e.g. 369/Pl.75); note the large breasts placed very high on 563/Pl.79. Umbilicus: circa 60% have an umbilicus, which can be very large (e.g. 880/Pl.77), appliquéd "belly-button" on 2413, 777/Pl.79. Back: The molded hollow figurines (sgs. A and B) mostly show some modelling of the neck and waist, some have a groove down the spine, a few also modelled buttocks; note the incised "genital triangle" on the back of 413/Pl. 75 (also on 777/Pl.79). Painted clothing is shown on five specimens, a necklace on four. No features at the back of the one-mold figurines (sgs. C). Clothing, accessories: Headdress: All specimens wear a headdress, often higher than in classic Chancay (e.g. 369, 1546, 1358, 1437/Pl. 75, etc.). Nearly all are perforated at the top: 6 holes: 7 figs. (3 with 2 pairs of 3 holes, 3 with 3 sets of 2 holes), 4 holes: 30 figs (14 with 2 pairs of 2 holes), 3 holes: 18 figs, 2 holes: 1 fig., 1 hole: 2 figs., no holes: 9 figs., not clear: 10 figs. Note the painted vertical lines on the cap of 238/1.6.1C/Pl.77 and the feather-like incisions on the cap of 280/1.6.2A/Pl.78. The majority (47 out of 77 = 61 %) have a borderband (see Fig. 49), mostly incised and/or punctated, painted on four specimens (e.g. 1358/Pl.75), occasionally plain, just raised (e.g. 781/Pl.79); but here as many as 38 % of the figurines lack a border band. The incised or punctated border band shows designs such as: a variant of the broken-line-and-dot with multiple filler dots (twelve specimens—e.g. 841—, against only three with the classic single-dot design); diagonal lines (vertical on 1217) with filler dots (397); horizontal lozenges (432, 280), plain broken lines, etc.

841/1.6.1A

432/1.6.1A

397/1.6.1C

280/1.6.2A

Fig. 49: Headdress border bands

1467/1.6.2B

1728/1.6.2C

Note the "tubes", appliquéd to the back of the headdress on 248/Pl. 76. Clothing: Painted (faint) crossed fajas on 369, 1358, 432, 1437, 124/1.6.1A/Pl.75; may also be indicated by incised lines on 1727, 1728 (vertical) and 563/1.6.2C/Pl.79. In addition 432/Pl.75 has thread wound like fajas across the chest, around the neck, the waist and one arm, P547/Pl.75 is wrapped in textiles, 2184/Pl.77, now at Cambridge (MAAC), is also dressed, and wears a raw cotton turban held together by string and surmounted by feathers (see Anton 1972: Fig. 221). Seler (1893: Tafel 12.6) shows a similar figurine—not located at MVB— wearing a large feather head-dress. .Necklace: In sg.1.6.1A-C 13 figurines wear a molded or incised/punctated (painted on 432) necklace of one, two or several rows of beads, often quite bulky (841, 369, 413, 1217, 1827/1.6.1A, 248, 374/1.6.1B and 801, 384, 1941, 238/1.6.1C); on 369, 1217/1.6.1A, 248/1.6.1B, the ties of the necklace are shown hanging at the back, also on 1088/1.6.2B, though here the necklace is not visible at the front. In sg.1.6.2, necklaces only occur in 1.6.2C, shown by two incised lines (1728, 1727), incised pendant lines (500), pendant triangles with multiple dot fillers (14), all Pl.79. Ear-plugs: In sg. 1.6.1 appliquéd ear-plugs, fitting in the centre of the ear, Fig. 50 occasionally also visible at the back, are worn by six specimens 369, 432, 1437, 1384/Pl.75, 1318, 374/Pl.77; 248/Pl.76 wears large circular, concave ear-plugs, the raised edge decorated with small incised circles; 1317, 1827/Pl.76 and 1941/Pl.77 only have enlarged earlobes. In sg. 1.6.2 ear-plugs are relatively smaller (e.g. P550. P551/Pl.78, 2413/Pl.79, except on 1728, 1727/Pl.79; they hang below the ear-lobes on 249/Pl.79. The earplugs can be plain or decorated with small circles or dots, concentric circles, or cross-anddots, incised bird on P551/Pl.78 (Fig.50). Manufacture: Three different manufacturing techniques occur in this sub-group:

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1.6.1.A-1.6.2A: The 26 figurines are made of two molds, front and back—two specimens have a mold-made front or face and hand-made back; the majority are hollow with the majority of airholes at the waist, a few at the ears and the waist; four or five specimens are solid. 1.6.1B-1.6.2B: With the larger cuchimilcos it is often difficult to establish how they were made: out of 31 figurines, 16 appear to have a mold-made head and perhaps arms and legs, and a hand-made body, eight are entirely mold-made, six hand-made; the air-holes are more or less equally divided between the waist (or the armpits) and the ears and waist; [248/1.6.1B has airholes on the shoulders]; note the unusually low air-holes of 1056, 1545, 31/Pl.77. Only one figurine (880/Pl.77) is solid. 1.6.1C-1.6.2C: With a few exceptions the 18 figurines are made of one mold only (front), with a featureless flat back, and are solid; eight figurines have perforations through their chest or arms. Three or four solid figurines may be entirely hand-made or hand-finished? The wares in sgs.1.6.1A-C are mostly fairly coarse. The most common variety is a slipped or burnished plain red ware, but a white decor (or traces of a thin white slip?) is quite common, black-on-red also occurs; 348/Pl.77 has incrustations of white and red post-fired pigment. As far as could be ascertained, the majority of sgs 1.6.2A-C figurines are made of reduced fired, i.e. black ware, burnished or with a black slip; but six figurines have a black slip on an oxidized red paste. The black slip can be very shiny. Eleven figurines have incrustations of white, red, or yellow post-fired paint (one, two or three colours combined). Associated to sg. 1.6.1A/Pl.76: The decision to "package" these eight figurines together and associate them to this Chancay sub-group is based on three considerations: they look vaguely "Chancay" (and indeed 370, 1544 407, 2013 were originally included in the main sub-group), they all have certain or fairly reliable provenances from the Chillón Valley (2013 from Ancón) and they all date to late phase 3 or even phase 4 , so belong or are associated—in a broad sense—to the culture of the area, which is Chancay. However it is possible that they are the product of Ychsma artisans at a time—towards the end of the LIP or the beginning of the LH—when the Chillón valley was in close contact with the Rimac Valley and the Chancay influence was waning on the left bank of the Chillón. 370 and 1544 have the large Chancay head and headdress, but compared to sg. 1.6.1A it is much wider and lacks the classic border, although it has perforations (damaged on 370, in four in sets of two on 1544). The facial feature are fairly classic, but the bodies are somewhat different, with peculiar arms on 1544 and very short separate legs. Both are mold-made, but 1544 has no air-holes. 1595 was included here because, with its very thick neck (perhaps indicating a necklace like the one worn by C155?) it doesn't appear to have the classic body shape: it was also found at Marquez, looks mold-made, but is solid; red ware with traces of white paint. 1481 has a high rounded headdress with two perforations and circular funnel-shaped ears placed unusually high and at right angles with the head/headdress; the facial features show large elliptic eyes and elongated eye-brows. The body has very short extended arms (no hands), and tapers to short separate legs with tiny feet; some modelling of the chest, but no genitals, umbilicus or breasts. Mold-made, hollow (the two holes on the headdress are airholes), the front shows traces of thin white slip and possible traces of a red decor? Probably bought by Uhle from a huaquero, allegedly from Marquez (Huaca El Palmo), Chillón Valley. 407: In many ways similar to 1481 and also allegedly from Marquez, with a high headdress (with two perforations), short arms and short separate legs, but the ears here are large depressions incorporated in the headdress, the molded face is outlined by an edging. Incised genital triangle and vulva, no breasts, no umbilicus. Mold-made face, but hand-made solid body (the perforations at the waist do not go through), traces of a cream slip and brown decor. 2013: Standing figurine with extended arms and an unusual high and wide headdress with two perforations and ending in a point on each side; flat in profile. Small face with molded features, large ears (ear-plugs), now damaged. The extended arms end in spoon-like hands, no 220

fingers. Small nipples, double incision at the waist, no genitals or umbilicus, conjoined legs. Appears partly mold- partly hand-made, solid; the head and upper body painted white, the legs red. The figurine was excavated by Uhle from grave T2 at Ancón. C155: Standing figurine, not unlike 2013, though the similar headdress is somewhat lower; elongated body, short paddle-like arms; double line at waist, incised genital triangle and vulva, small breasts, placed high, no umbilicus; conjoined legs, possibly damaged. Wide, choker-type necklace, large semi-circular ear-plugs. The figurine is mold-made but solid, with a pale terracotta surface with traces of white. Excavated in "a context of disturbed burials, in an abandoned edifice, later re-used as a cemetery" at Capilla Marquez, Chillón Valley. 361: Standing figurine wearing a headdress with two projections, similar to 2013 and C155, but much more pronounced; three perforations. The facial features and the body with extended arms, short separate legs, incised genital triangle and large umbilicus are Chancay-related. Note the unusual punctated nostrils, mouth and necklace. Made of a single (frontal) mold, solid, dirty buff surface on red ware. Allegedly from Marquez, Chillón Valley. Atypical (sg. 1.6.2B/Pl.79) 827: Head and body of a large figurine—probably measuring over 50 cm complete—with two sets of arms: thin extended ones and very small ones, folded on the chest (the extended right arm and the appliquéd folded left arm are broken off). The crown of the head is rounded and although there is no obvious headdress, there are four perforations in sets of two. In profile the head is very narrow at the top, broadening at the neck and with a jutting chin (as on 509, 1466, 1467/Pl.78). The broad face has long eye-brows diagonally reaching the top of the head, large modelled eyes, a nose with nostrils and alae, raised lips and semi-circular concave ears with small holes (not through). The shoulders are rounded, the extended left arm starts fairly low down, has a marked elbow and a semi-circular concave hand with five incised fingers; the tiny folded right arm is placed just below the nipple and has a hand with four incised fingers. The body fragment is rotund, with a shallow groove outlining a square genital area, the vulva is missing. Hand-made, hollow, with airholes on the shoulders, burnished black, reduced-fired. P549: Very large figure, with a rounded head showing a marked central cleft (bilobation?) with a perforation on either side Molded facial features with extremely long horizontal eyebrows, typical Chancay eyes, nose, molded lips and conch-like ears with perforations. Note the unusual incised nose-to-chin lines. Rotund body with small pointed shoulders, nipples, large umbilicus, an incision going from side to side at the waist above an incised genital triangle with vulva. The arms and legs appear restored; the arms, starting low down, are unusually short, with large flat hands ("resembling the flippers of a seal", according to the catalogue entry) and short molded fingers; the legs have a classic shape, tapering downwards, but show molded knees placed unnaturally high up and tiny feet, without incisions for the toes; the ankle-bones are unnaturally low. The figure has probably a mold-made head and hand-made body (?), it is hollow, with "openings at the side of the waist and in the back", in oxidised ware, with a black slip. DISCUSSION (SGS. 1.6.1, 1.6.2) Special features, links with other groups Elongated (rather than arched) eyebrows (e.g. sg. 1.6.1: 247, P548/Pl.76, 1545, 1056/Pl.77; sg. 1.6.2:1466/Pl.78 etc.) also occur on Early Chancay cuchimilcos (e.g. sg. 1.3.4/Pl.55). Since this is not a chronological indicator (some of the earlier figurines (like 222) are dated, whilst some, if not all, of the later ones—like 247—are clearly late), it may be a local feature: earlier specimens are from Ancón and the Chillón valley, later ones from the Chillón valley. Arched, modelled eyebrows (1437/Pl.75, 1088, 253, 248/Pl.76, 880, 1318, 801/Pl.77) on the other hand, appear to be a Late Ychsma and/or LH feature. The peculiar funnel-like ears of 1481/Pl.76 (sg.1.6.1A, associated), placed at right angles to the headdress, have only one parallel in 1018/Huaura sg.2.3./Pl.37. The two lateral projections on the headdress (2013, C155, 361/sg.1.6.1 associated/Pl.76) are reminiscent of some of the anthropomorphic late MH figurines (see Pl.30); the overall 221

high headdress shape, especially of 497, 2013/sg.1.6.1 associated/Pl.76 are not unlike some Ychsma figurines (2236/Pl. 103, from Pedreros, 403, 270./Pl.105, from the Lima area). The "tubes" on the back of headdress on 248/Pl.76 are a unique feature. They may have been used to insert feathers or flowers to adorn this exceptionally large cuchimilco? Ten black ware or black-slipped figurines (e.g. 280/1.6.2A, 1727/1.6.2C) have red and white or yellow post-fired paint rubbed into the incisions. This ware is similar to that of Early Horizon Ancón figurines (see Chapter 2: Ancón Sg.1.1). Another earlier group which also must have been inspired by the same source is Late MH Gr.3/Cats,Birds (see Chapter 7). An obvious explanation for the emergence of this unusual ware is that the late dwellers of Ancón came across some of the earlier pottery, liked the look of it and copied it. Like in the earlier groups, the ware can be both reduced-fired and polished to a high gloss or oxidized, with a black slip. There is also one red slipped specimen with red and white post-fired incrustations (348/ 1.6.1C/Pl.77). Context A number of figurines clearly come from graves, including those excavated by Reiss and Stübel, and those from excavations at Ancón and Marquez, Chillón valley (Uhle's and others). The latter probably come from cemeteries located on or around earlier huacas, re-used as burial grounds during the later Late Intermediate and the Late Horizon. Note that 1595, 2013, were associated with infants, 2063 was found with weaving implements, as well as two cats' heads and the jaw of a sea lion! (see Appendix 3, Gravelots). 235/Pl.77 was found in a sewing basket (Haas 1986: no. 129), 384/Pl.77 was wrapped in a textile with another figurine, now missing (EMB, catalogue entry). P553/Pl.79 comes from a refuse layer at Maranga (Jijón y Caamaño 1949:471) . The large black cuchimilco P550/sg.1.6.2B was found near the surface (0.85 m) of Huaca 18 at Pando, (Maranga). It had a string tied around its neck and was covered with pacae leaves; it was not part of a burial, but appeared associated with two storage pits, mainly containing maize. At a distance of 2.60 m. but on the same level, was a pen for guinea-pigs, containing guinea-pigs' droppings. On the basis of these associations the figurine is seen as a fertility goddess! (Belcore and Obando 1970:160). Note that 247/Pl. 76, 1466 and 1467/Pl.78, from Marquez (the latter from the same huaca) have both arms broken. This may have a ritual significance, but could equally be a manufacturing defect. Most of the large cuchimilcos are fairly stable. Unlike some large cuchimilcos in sub-group 1.4.2 all appear to have been used prior to deposition. Geographic distribution Sub-group 1.6.1 Certain Fairly reliable Unverifiable Sub-group 1.6.2 Certain Fairly reliable Unverifiable

Huaura Valley

Chancay Valley

Ancón

Chillón Valley

1 (Supe) 2

11 2 1

3 2 3

6 13 2

1

2 3

3

4 1 + (1 Pacasmayo?) 3

3

Rimac Valley 3 vic. of Lima 1 Pachacamac 2 Maranga 1 vic. of Lima 1 Rimac V.

Taking both sub-groups together we see that out of 47 certain or fairly reliable provenances 24 (51%) come from the Chillón Valley, 7 (14.9 %) from Chancay, 6 (12.7 %) The mention "Q. Adq. XI" as provenance of 841/1.6.1A could mean the figurine was "acquired" at the site of Huaquería (M. Cornejo, pers. communication). 2 A further two figurines (UPMP 33568, 33762) from Huaca Paraíso, Chillón Valley, acquired by Uhle have not been included as their features are too sketchy. 3 Probably a misreading for Pasamayo, Chancay, an area between Ancón and the Chancay valley. Pacasmayo is situated on the North Coast. 1

222

from Ancón, 4 (8.5 %) from Huaura and Supe, 6 (12.7 %) from the Rimac Valley. That is a total of nearly 75 % outside the Chancay heartland, i.e the Chancay and Huaura valleys. Note however that—as far as black- or black-slipped figurines are concerned—a slightly larger proportion (over 43% of the certain and fairly reliable provenances) comes from Chancay or Huaura. In particular most of the black figurines with post-fired incrustations come from that area. The unverifiable attribution for Pachacamac (1437/Pl.75), is doubtful as this is a typical Chancay figurine. Throughout the LIP, the Chillón valley was culturally (and politically) more closely linked to the Northern sector of the Central Coast (Ancón, Chancay, Huaura) than to the neighbouring Rimac valley. At the end of this period it is still strongly influenced by the Chancay style, with a very similar iconography, even though the local pottery now consists mainly of red- or black ware: the former being what Kroeber calls “Sub-Chancay”, the latter often found in association with it (1926c). The high number of provenances outside the Chancay valley for these sub-groups, probably means that in the Chancay and Huaura valleys black-and-white figurines went on being produced during at least part of the LH (Chancay phase 4). Chronological position Although many figurines date to phase 3—some even to the early part of that phase—the majority belong to a time of transition and to phase 4 (LH). A figurine with an undoubtedly Chancay look, but incorporating all the phase 4 features is 369/Pl.75/sg.1.6.1A (Fig.51): headdress with incised border band and six perforations disposed in three pairs; arched semicircular eye-brows, no face paint; punctated nipples, double incision at the waist, double incision marking the vulva; painted lines across the legs (an early feature reappearing in phase 4); large applied ear-plugs with incised cross-and-dot motif, bulky necklace with ties hanging down the back. What is essential to realise is that many of these phase 4 features are also typical for the Ychsma figurines of the neighbouring Rimac and Lurín valleys and typical for the LH on the Central Coast as whole! Only three figurines come from datable gravelots, none of them very specific (see Chancay Chronology and Appendix 3). Two roughly made figurines, the associated 2013/Pl.76 (from Uhle’s Ancón grave T2) and the damaged 1595/Pl.75 (from Kroeber’s excavation at Marquez) date to late phase 3, whilst the small 2063/Pl.77 (from Uhle’s Ancón E1) dates to phase 4. So the sub-groups must be dated on the basis of stylistic traits, bearing in mind that all features are not always found together! Sub-group 1.6.1: • Figurines wearing a square headdress of average height, with a decorated headband and three (occasionally four) perforations, and without ear-plugs or a necklace (e.g. Fig. 51 specimens like 1510, 1358, 124/Pl.75, 1748, 253/Pl.76, 2318/Pl.77), belong to phase 3. • Figurines with a high square headdress, often but not always lacking a decorated headband and mostly with two, four or even six perforations, often in pairs of twos or threes, also with arched eye-brows (e.g. 841, 1546, 1544, 414, 1357, P547, 1025, 1317/Pl.75, 1088/Pl.76, 373/Pl.77) are border-line cases between phases 3 and 4. But note that two airholes are also quite common in early Chancay (see sgs. 1.2.1 and 1.2.4/Pls 50, 51). • Similar figurines, but with ear-plugs and a necklace, preferably tied in the back, also with punctated nipples and a double incision at the waist (e.g. 369, 413, 432, 1437/Pl.75, 248/Pl.76, 1318, 374/Pl.77), as well as arched eye-brows, are

223

definitely phase 4—by analogy with Ychsma and LH figurines in general. Another late feature is a punctated, rather than incised, decor (e.g. 1437, 1384, 1827/Pl.75, 801, 384/Pl. 77). Note also late Chancay designs such as the broken-lines-with multiple-dots (e.g. 841, 1025/Pl.75, necklace of 248/Pl.76), instead of the traditional broken-line-and-dot; lines painted across the legs (e.g. 369, 432/Pl.75), an early feature, revived during phase 4 (see Chancay 1.4.2, 1.4.3). • Some figurines present a conundrum: 247, P548/Pl.76 and the sitting 1545, 1056/Pl. 77 have elongated eye-brows, an early feature (see Chancay 1.3.4/Pl.55); in addition P548, 1545, 1056 have rounded crowns—again an early feature. But a figure like 247/Pl.76 is definitely late, by analogy with blackware specimens like 1466, 1467/Pl.78 and the sitting figures have folded legs, definitely a later feature: see early sitting hunchbacks Pls. 47, 48, 54; note however that some hunchbacks which are included in the classic Chancay groups also have extended legs (Pls. 60, 63), but these—except for C147a/Pl.63—have rounded crowns, so could be early phase 3? Obviously there is a large margin of error possible here. • The small solid figurines made from one frontal mold only (sg.1.6.1C) are also the product of an Ychsma or LH innovation, therefore date to phase 4, though they retain Chancay decorative features. • The associated figurines (Pl. 76) are more difficult to date: 307, though "different" is close enough to classic forms to date to phase 3; 1544 with an unadorned headdress with two sets of two perforations is border-line phase 3-4. The odd rendering of the ears on 1481, from Marquez, has only one parallel in 1081/Pl.37, a Huaura 2.3 specimen without provenance. But the overall look, especially the high headdress with two perforations suggest late phase 3-phase 4? 407, allegedly from Marquez is also reminiscent of a possible Ychsma figurine (see 270/Pl. 105). Late phase 3-phase 4? 2013 from Uhle's grave T2 at Ancón could be a local innovation since a similar specimen (C155) was excavated at Marquez; we may be seeing Ychsma influence here, as a similar figurine was found at Pedreros, Rimac Valley (see 2236/Pl.103) and another from " the vicinity of Lima" (see 403/Pl.105). Late phase 3 to phase 4? Finally. by analogy and with its partly punctated decor, 363 probably is similar in date. Altogether these figurines may belong to the Ychsma style? Sub-group 1.6.2: Strong 1925: Table I, records some blackware both for Late Ancón I (LIP 2-5, i.e. Chancay phases 1-early 3) and late Ancón II (LIP 6-8, i.e. Chancay phase 3). We also see a blackware Chino vessel in Uhle Grave A1, from La Mina, Chancay, dated to phase 3B – i.e. probably LH (see above Chronology of Chancay). • The sitting hunchbacks 781 and 1745, with raised arms and extended legs, wearing a semi-circular headdress with raised border band belong to early phase 3, possibly earlier (cf.1917/Pl.60, 1080/Pl.63). Note that later sitting figures always have folded legs. • 574, with its relief undecorated headband and small indentation (bilobation) and lack of headdress holes could belong to early phase 3. A number of figurines are fairly traditional looking, except for the number and/or placing of the headdress holes (e.g. 1467, P550/Pl. 78) or the lack of headband (e.g. 283, 1387, 826, 509, 502): they probably belong to late phase 3, though a specimen like P551 with its semi-circular eye-brows and ear-plugs probably belong to phase 4. • Most of the black figurines with post-fired incrustations still have the classic Chancay look, including specs and lower cheek decor; but several are made of one mold or hand-made and the decor is incised; only two of these (14, 500/Pl.79) wear necklaces. So they probably date to the end of phase 3.

224

• P553 1 comes from a refuse layer at Huaca III, Maranga, which is dated to the earlier phases of the Lima style (Jijón and Caamaño 1949:15, 18, 494). In fact the figurine clearly belongs to late Chancay (late phase 3 or phase 4?). • The two atypical figurines are problematic: 827 was stored at the MPSC amongst the material excavated by Horkheimer in Chancay, so it probably comes from there. With its rounded head, elongated eye-brows and two sets of arms it would be a candidate for Chancay sg. 1.2, but its size—probably larger than 60 Fig.52 cm—, the two sets of two perforations on the headdress, the unusual representation of the two sets of arms (the right folded arm appliquéd, the left chipped off, see Fig.52), and the black ware and the airholes at the shoulders (also a late feature, which rarely occurs in Chancay), it probably dates to the LH. P549 (Kennedy Easby 1966: no.537): the indentation on the head, with a hole on either side, does occur on a few early Chancay specimens (f.i. 378/Pl.50), but the rest of the head and body is definitely late, even though the arms and legs appear to have been extensively restored. GROUP 2: CHANCAY FIGURINES WITH ELONGATED HEAD

The 109 figurines in this group are characterised by their "tubular" headdress—varying in shape from very tall and narrow to quite low and wide and with a rounded to pointed top— showing an elongated head. Other features specific to this group—especially the classic Chancay specimens of sg.2.3—include a bag or child carried in the back and characteristic clothing featuring a wide belt and two tupos, or Fig.53 shawl pins, worn on the shoulders/chest. Fig. 54 Early representations of figurines with elongated heads, the socalled deformación por llautu1 already occur during the Middle Horizon (see SAC 351, SAC 309, 421/Pl.15/Early MH Group 1; 1163, SAC 353/Pl.30/Anthropomorphic figurines sg.3.1; various/Pl.41/Huaura Group 3). As for the Group 2 personage, with its specific characteristics, it also appears to go far back in time and to survive into Inca times. Three Nieveria style vessels, two of them from Vista Alegre, Rimac Valley (MSP n/n), show one or other of the attributes characteristic of this group. A sitting figure (Fig. 53) wears the typical tupos and large belt; another (Fig. 54) with the typical wide belt, but without tupos, is breastfeeding a child (a theme which only occurs in Group 2!); a third personage (Figs. 55 a, b), with belt, tupos, and slightly elongated head, carries a bag on its back. Similar personages are also represented often on Inca Fig. 55a Fig. 55b metal figurines. The head shape, facial features, face-paint—so different from the traditional Chancay cuchimilco—as well as the specific clothing and tupos, associated with the bag often carried by these figurines on their back, suggest that they are "foreigners" from the Sierra. It is interesting that—whilst Group 1 cuchimilcos are never seen on face-necks (features 1

P553 listed in Jijón and Caamaño 1949 as Lám. CIII, no.5, is in fact the fourth object from the left, no.3 having been left out. 1 For details see Chapter 5, Early MH Gr.1, Special features. 225

like the headdress, face-paint or other ornaments are always quite different)—representations similar to Group 2 figurines do appear on face-necks. The head is only partly elongated, as it forms the spout of the vessel, but many representations have the same tear-marks, similar clothing, including tupos, and textile patterns on the belt (see below, Fig. 56: Private collection), here holding a child also with an elongated head! Another face-neck with tubular headdress, shows a female with tupos and a belt, carrying a jar on her back (Lavalle and Lang 1982:70). Finally some other face-necks with tubular headdress and loads (vessels, llamas and other animals) on their backs, with a large disk ornament and sling (?) on their head, but no belt or tupos probably represent males (c.f. Lavalle and Lang 1982:71, upper and lower right). But like the female figurines, they must represent foreigners or travellers. One, with slightly different clothing and large earpendants, carrying a parrot and a monkey, may represent a traveller coming from the rain forest (cf. Lavalle and Lang 1982:71, lower left). According to M. Rostworowski (personal communication) the personage represented may be the mythical Raiguana or Mama Raiguana who reigned over all staple plants, which she reserved for her offsprings. In one particular version of the myth, an eagle carries off Raiguana’s child, until she agrees to distribute the fruits of the earth (Rostworowski 1983:73). Another, more tenuous link between this personage and Pachamama, is found in a creation myth centered on the nevado "La Viuda" at the headwaters of the Chancay and Chillón valleys. Here the Earth Mother Pachamama, struggling to raise Fig. 56 her twins after the death of their father Pachacamac, is eventually killed by the highland God Wakon and changed into the Nevado. This is a different version of the creation myth involving a couple (twins, brother and sister, man and wife?) centred on Vegeta, Huaura valley, in which Pachacamac plays a negative role (see Huaura 2, Discussion) 1. In a village at the foot of "La Viuda" three monoliths were still worshipped in the 1920s. One of them resembled a woman carrying a load on her back and was specifically said to represent Pachamama, carrying her twins (Kill n.d.: 83). There is a discrepancy here, because our woman carries a single child. However the tear marks, very common on Group 2 figurines and the doleful appearance of the two sitting figurines carrying a child on their lap (1126, 486/Pl.84) may point to some such creation myth, involving a suffering mother. In this context one must also recall Gutierrez de Santa Clara (1963/1548:231) who specifies that— contrary to the images of other gods—the Earth idol (Pachamama?) was made of pottery. Finally, Felipe de Medina, active in the extirpation of idolatry, describes a famous shrine at Choque Ispana, near Huacho, a local pilgrimage much visited by the serranos, with separate entrances for them and their wives. "Hallé...un carnerito de la tierra que llaman mamallama por el augmento de ellos y que tengan los serranos que traer mas de este género, para que sirvan en sus sacrificios y de aqui se verifica y de auer hallado los ídolos pequeños vestidos a lo serrano que este adoratorio era general y común así para los de la sierra como para los de los llanos" (quoted by Krzanowski 1991b:240). If we compare the facial features of some of the large, better made Group 2 figurines (585, 849, 1232/sg. 2.3/Pl.81) with their equivalent in Group 1 (2061, 1994, etc.,/sg. 1.4.2/ Pls.64, 65), it becomes clear that they are meant to represent different physical types. It is possible that differences in the face-paint also mirror the real face-paint of coastal and highland people. As regards the decorative motifs on headbands, tumplines and belts, some of the same designs are found in both groups, though many of the belt motifs of Group 2 do not occur on Group 1

A myth regarding the origin of food and still recounted in the Pampas region, actually blends the two stories (Rostworowski 1983:74).

1

226

cuchimilcos (2250 (back)/2.2/Pl.80, P556/2.3/Pl.81) 1. But it is very likely that Group 2 figurines are precisely those idolos pequeños vestidos a lo serrano, found by the "extirpators of idolatry". The task of classifying this group (especially the large sg. 2.3) in a meaningful way has been very difficult. There are not enough documented provenances to try and identify regional variants, nor are there enough other characteristics to establish valid smaller groupings. Also, the variety is such, that I have not singled-out specimens as "atypical". The 109 figurines in Group 2 are subdivided in the following sub-groups: Sub-group 2.1: Early figurines with Elongated Head and Folded Arms Sub-group 2.2: Early figurines with Elongated Head and Extended Arms Sub-group 2.3: Classic Black-on-White Figurines with Elongated Head (phases 3, 4) Sub-group 2.4: Chancay-Huaura Figurines with Elongated Head (Jecuan sub-style) Sub-groups 2.5.1, 2.5.2: Figurines with Elongated Head in Red- or Blackware (phases 3,4) Sub-group 2.6: Special Figurines with Elongated Head. The sub-groups are described separately but discussed jointly. CHANCAY SUB-GROUP 2.1: EARLY FIGURINES WITH ELONGATED HEAD AND FOLDED ARMS

Table 35 Plate 80 Sample: 7 figurines – examined 6 Maximum Measurements 2 Height (7) 22.9 cm Width (7) 9.0 cm Thickness (5) 8.2 cm Weight (4) 550 gr.

Minimum 5.5 cm 2.1 cm 1.9 cm 50 gr.

Median 14.8 cm 4.3 cm 4.6 cm

GROUP CHARACTERISTICS

Very diverse standing figurines (one sitting); the elongated head is pointed and flattened in profile, more rounded on 473. The face shows overall face paint and molded features, such as elongated, molded eye-brows (357, 1220, 473), elliptic or rounded eyes (appliquéd on 67); note the semi-circular ears, decorated with dots on 1220, 473; pointed jutting chin. Straightsided body (except on 67), slightly protruding shoulders on 357, 473; short arms folded above waist (upwards on 1292, C 147b, 67), hands with three fingers; straight conjoined legs, sketchy or absent feet; probably all females, with painted or raised genital triangle, incised vulva on 1220, 1292; breasts on 357, 1220, 1292. Clothing and accessories: all (except 67) appear to wear a headdress, plain dark, or decorated with dots (473) stripes (357?, 1292) or a horizontal band (or tump-line?); all show body paint; 1220, 473, C 147b wear a necklace of large molded beads, painted on 1292; 473 carries a bag with hanging appendages, 67 carries a child: the body with extended arms and legs, but missing head, is clearly visible. Manufacture: Mold made and hollow, except 67, which might have a mold-made body with appliquéd features (arms and child at the back), and 700 which is solid (C 147b: not known). Wares: 357, 1220, 473 and probably 67 are made in an early Chancay 3-colour ware (note the typical early Chancay bird-foot fillers in the genital triangle of 357); 1292, 700 and possibly C147b are in Chancay black-on-white. CHANCAY SUB-GROUP 2.2: EARLY FIGURINES WITH ELONGATED HEAD AND EXTENDED ARMS

Table 35 Plate 80 Sample: 8 figurines – examined 7

A. Rowe (pers. com.) thinks that the bags on the backs of 1076, 1077, 2250/sg.2.2/Pl.80 depict a Sierra textile. 2 Excluding the sitting 67. 1

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Measurements: The standing figurines measure between 12.1 and 22.8 cm in height, 8.8. and 16.2 cm. in width and between 3.5 and 7.8 cm in thickness; three recorded weights are 100gr., 170 gr. and 270 gr. The three near identical sitting figurines measure between 21.9 and 29.5 cm in height, 20 and 14.9 cm in width; the two smaller specimens are ca 10 cm in thickness and weigh 660 and 590 gr. GROUP CHARACTERISTICS

The standing figurines are very diverse: P555 and 1027 have a more rounded head, the others pointed, but all are flattened in profile; facial features are fairly classic with large rounded or elliptic eyes, etc.; the face-paint shows zoning of the eyes, cheeks or mouth (P555, 2044), or curlicues in the mouth area and small triangles at the corners of the eyes (1027). The body is also diverse: arms can be short though folded and lifted sideways (P555), clearly molded upper and lower arms, lifted vertically upwards (1027), or very short (2044, 195); large hands, always painted black, with incised (P555, 834), painted (1027) or absent fingers; legs are conjoined or completely separate (P555, 834), feet with or without modelled toes. All are female, with a painted genital triangle (incised on 834) and incised vulva, nipples on 1027 only; umbilicus on P555, 1027, 834. Clothing/Body paint and accessories: The elongated headdress is rounded to pointed at the top; on 834 there is a relief band with a painted motif of lozenges. All have paint on their upper body (tunic?), as well as a painted genital triangle and stripes across the legs; 834 has a painted faja. The hunchback 2044 and 834 carry a bag on the back, on 834 it has an incised design. The three sitting figurines have a head with a tall headdress flattened in profile, a well proportioned face with classic Chancay features and large conch-like ears, elaborate face-paint on the cheeks, as well as "specs". The rounded body sits on a circular base and has raised arms of varying length (note the shoulders on 1076) and hands with incised fingers; long, thin legs, folded at the front, minute feet with incised toes; a slight bulge and an incised vulva indicate female genitals; nipples on 2250 only; umbilicus. Clothing and accessories: All are entirely painted black (tunic?), with a white band across the arms and a wide belt, only shown in the back; all wear a pair of tupos, as well as a necklace of three or six pendants; all carry a square textile bag hanging in the back, and attached to their head by a textile tumpline. Manufacture: All appear mold-made and all are hollow with airholes generally at the waist, except 1027 which has no airholes; 834 has additional airholes at the ears and arms. P555 and the sitting figurines are in 3-colour ware, the rest are Chancay black on white. CHANCAY SUB-GROUP 2.3: CLASSIC BLACK-ON-WHITE FIGURINES WITH ELONGATED HEAD (PHASES 3 AND 4)

Table 36 Plates 81-85 Sample: 65 figurines (examined 54) Measurements Maximum a) Standing Height (43) 58.0 cm Width (36) 28.5 cm Thickness (36) 16.5 cm Weight (28) ca 3 kg. a) Sitting Height (23) 25.5 cm Width (15) 16.6 cm Thickness (20) 13.0 cm Weight (10) 710 gr.

Minimum

Median

7.7 cm 5.4 cm 2.2 cm 70 gr.

16.5 cm 10.6 cm 5.0 cm 260 gr.

8.8 cm 3.6 cm 4.0 cm 90 gr.

15.8 cm 10.2 cm 6.6 cm 300 gr.

GROUP CHARACTERISTICS

There are 42 standing and 23 sitting figurines in this sub-group, but most of their characteristics are similar, so they can be described together. Although clearly elongated due to a deformation por llautu, the head shows great variety, both in the overall height and in the shape. The head can be extremely elongated and narrow (e.g. 845/Pl.81, 1918/Pl.84) or

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shorter and fairly wide (e.g.1030/Pl.83, 393/Pl.84), with sides mostly converging at the top, but also parallel (e.g. 585/Pl. 81), occasionally bulging (e.g. 849/Pl.81, 840/Pl.83); the top of the head varies from pointed (1470, 472/Pl.82) to rounded (585/Pl.81, 840/Pl.83) 1. In profile the head is generally flattened and straight (e.g. 1832/Pl.82, 1126/Pl. 84), wider and slightly more rounded on important specimens (e.g. 585/Pl. 81) and/or tilted backwards, marginally more often on the sitting figurines (e.g. 1732/Pl.84, 1187/Pl.85). Face: Realistic proportions; modelling, when present, is mostly confined to the eye-sockets (but note the beautifully modelled faces of 1732/Pl.84 or 1603, 1159/Pl.85, all sitting). The most common form of face-paint is tear-lines (circa 56 %), consisting of two or three short parallel lines under each eye (e.g. 1283/Pl.82); on important specimens we see a more stylized form—one or two sets of thick lines between two thin ones—painted on the cheeks, well below the eyes (e.g. 585/Pl.81, 1078/Pl.83). The outlining of the chin is also quite common (circa 32%), occasionally with added vertical lines (P559/Pl.83, 1906/Pl.83) or small triangles (840/Pl.83), probably imitating the classic cuchimilco cheek decor; "specs" are rare (circa 13 % e.g. SAC 398/Pl.83), zoning of the eyes (e.g. 1149/Pl.82) is even rarer; 139/Pl.85 has a broad line painted across the nose. Eyebrows are rarely modelled (e.g. 393/Pl.82). Circular, bulging eyes, with molded and/or thickly outlined lids, with or without painted pupils (e.g. 835/Pl.81, 1906/Pl.83, 139/Pl.85) are fairly characteristic for this group (58%), more so among the standing figurines (64%). But even the elliptic eyes tend to be bigger, more bulging, with larger pupils than in sg. 1.4 (e.g. 1078/Pl.63). Nose: Usually straight, small and well formed (circa 55 % have modelled nostrils and alae); note the aquiline nose of 1232/Pl.81, the very large nostrils of 393/Pl.84, 139/Pl.85. Mouth: great variety; generally molded lips, often also painted; appliquéd, round on 139/Pl.85. Ears: concave, mostly semi-circular in shape, rarely life-like, sometimes pointed (e.g. 882, 499/Pl.82); perforated (ca 25%); no ears (1386, 1149/Pl.82); their location varies, but can be very low (e.g. 585/Pl.81). The chin is mostly oval (straight on large standing figurines) and slightly jutting in profile; note the very pointed chin on 1135/Pl.83, bulbous on 1732/Pl.84, both jutting. The neck marks a clear separation between head and body (also at the back), but the length varies. Body: Both the standing and sitting specimens have a broad chest, slightly tapering towards the lower body. Outline and proportions vary. In profile the standing figurines are mostly straight, rarely leaning backwards (e.g. 1893, 399/Pl.82), 5/Pl.83 leans forward); the standing specimens are fairly flat (except 1283/Pl.82, 1906/Pl.83), the sitting figurines tend to be broader, with a convex back. Arms: Extended sideways and upwards (exception 1283/Pl.82 with folded arms and hands extended sideways); the shape and size varies—depending on the quality of the specimen—from unarticulated short "stumps", which can be broad or thin (circa 60%, e.g. 838/Pl.81, 1030/Pl.83) to more naturalistic arms with elbows (e.g. 585/Pl.81, 1135/Pl.83). One recurring shape shows the molding of the folded arms, i.e. the forearms and the upper arms (e.g. 399/Pl.82, 1159/Pl.85); 1126 and 486/Pl.84 are cradling a child; 237/Pl.81 and 410/Pl.85 have two sets of arms 2. 139, 1340 have no arms. Hands are circular, concave, often very large (e.g. 472/Pl.82); circa 55% have four short, crude incisions for the fingers (note the molded fingers on 1030); the hands can be entirely or partly painted black, about 30% are left white (unlike in 1.4). Legs: 42 figurines are standing; 11 figurines have completely separate legs, the rest have conjoined legs, 1030, 72/Pl.83 are joined at the feet, 845, 844/Pl.81 have short stumps. Feet mostly protrude slightly, with or without incisions marking the toes; important specimens (585, 849/Pl.81) have molded toes and ankle-bones. The 23 sitting figurines have highly stylized, long thin legs, molded onto the lower body in a semi-circle from the buttocks towards the front; on 1340/Pl.85 the legs appear to start in the middle of the back, 2322/Pl.84 has a rounded base, like a vessel, with legs hardly indicated 3. The feet, when shown, are minute appendages, sometimes with two or three incised toes. Genitals: All are probably female, though no genitals are shown on 22 figurines. Amongst the Lilien (1956: 245, Pl. XVII n, o) mentions a cuchimilco (no longer in AMNH collection?) whose head had been deliberately filed down to a pointed shape. 2 The folded arms are hardly visible on 237 – but Haas (1986: 303, no.123) also points them out. 3 This specimen could be a fake. 1

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standing figurines over 70% have a raised genital triangle (25% also incised), the vulva is indicated by an incision on circa 60%. On the sitting figurines, only the vulva is indicated. Breasts: Nearly 60% of the standing figurines have small nipples, against 20% of the sitting figurines, where the area is often hidden by large tupos. Note the pendant breasts on 1283/Pl.82 and 1078/Pl.83; on 486/Pl.84 the infant appears to be suckling, cupping the breast with both hands. Umbilicus: Rarely shown (24% standing, 15% sitting); perforated on 1149/Pl.82. Back: shows some modelling of the neck, waist and buttocks (1377, 585/Pl.81, 499/Pl.82, 1135, 1797/Pl.83, have a kind of replica of a genital triangle incised on their buttocks), and the painted clothing; 1135/Pl.83 has incised hair? at the back of the head, 1377/Pl.81, 486/Pl.84, short molded hair. 23 figurines—probably many more, as some data are missing—carry a bag, a further four carry a child. Clothing, accessories: Headdress (shape and size, see above under "head"): The most common form is a plain black cap with an edge consisting of a patterned (sometimes raised) tump-line, to which is attached a bag hanging down at the back (circa 35 %, probably more); in some cases the bag looks somewhat like an animal skin (1187, 410, 139/Pl.85). The decorative patterns on the tump-line (see Fig. 55) are mainly variants of the broken lines-anddots design (e.g. 585), some with multiple lines (e.g. 1232) and/or multiple dots (e.g. 1078), squares-and-dots (e.g. 1283); 72 and 840/Pl.83 have a plain tump-line. 62, 410/Pl.85 have a band with relief chevrons 1; on 486/Pl.84 and 139/Pl.85 the tump-line shows two or three relief bands (ropes?).

585

1232

1078

Fig. 57: Tump-line designs

1283

1187

Amongst the figurines which do not carry a bag, seven have a patterned head-dress border, the rest have a plain border or no border. 57/Pl.83 has a small skullcap and a broad band with large (unclear) motifs, 1028/Pl.83 has a cap with vertical painted lines and patterned border. 1367 and 1386/Pl.82 have two and one perforations through the cap respectively. 1187, 410/Pl.85 have a helmet-like head-dress with a relief border—not a tump-line!—with a chevron design on 410, and something looking like a sling on 1187 (see Fig. 57) with lateral flaps, on 1187 also a back flap covering the neck. Clothing: Many of the standing figurines wear a plain black tunic, with or without short sleeves, descending to the waist, more rarely covering the legs (wholly or partly); on P557 and 2414/Pl.81 the genital triangle is left uncovered. 1386 and 1149/Pl.82 wear crossed fajas, 350/Pl.81 and 57/Pl.83 a string vest; 13 specimens have a patterned waistband (plain on 1283/Pl.82). 1797/Pl.83 has a collar of pendant triangles, 845/Pl.81 a low pointed neckline. 844/Pl.81 and 1433/PL.83 appear to have no clothing. Eight of the sitting figures are completely dressed in black (short sleeved gown?), 1996, 1918/Pl.84, 62, 1187/Pl.85 are completely white; seven figurines have tunics to the waist. Eight wear a patterned waistband, four a plain one. The patterns of the waistbands on standing and sitting figurines are variants of known designs, but some are different and/or more complex (Fig.58). 585

72

849

P556

1232

P557

Fig. 58: Waistband Designs

2414

1030

2322

Large disk-like tupos are worn by 15 standing and 13 sitting figurines; they can be molded 2 and are often picked out in white; mostly placed downwards from the shoulders, but 1 2

On 62 It is not clear whether it is attached to a bag (see drawing). Not always visible on the photographs. 230

can also be placed upwards (cf. 585 with P556/Pl.81). Necklace: eight of the sitting figurines wear two pendants between the tupos (e.g. SAC 349, 2415/Pl.84); 1028/Pl.83 (standing) wears a row of molded beads; 139/Pl.85 wears a molded band with painted beads, 62/Pl.85 has a double painted line at the neck and across the arms, 410/Pl.85 has a molded rope visible on the chest. Ear-plugs: Only worn by 1187/Pl.85 (large, circular, concave). Accessories: At least twelve—probably more— 849 399 standing figurines (28%) and sixteen sitting figurines Fig. 59 (70%) show a painted, occasionally also molded, textile bag on their the back (overall 42 %), featuring a variety of patterns; on 1187, 139, 410/Pl.85 it might be an animal skin; on 410 the bag is attached to a molded rope wound around the body. The bags often hang very high up, nearly at the neck (e.g. 72/Pl.83). Four standing figures carry a modelled child on their back: spread-eagled on the bag (849/Pl.81), in a sling (399/Pl.82) -see Fig.59-, attached to a litter (1937/Pl.82), no data (P556); two sitting figurines hold a child on their lap, one with a hand on the mother's mouth (1126/Pl.84), the other suckling (486/Pl.84); note that all the children also show an elongated cranial deformation. Manufacture: All the figurines are mold-made, though some of the larger specimens probably have a partly hand-made body; the children carried can be integral to the mold (see M14-M15/Pl.99) or hand-made and appliquéd. Most \specimens are hollow, five specimens are solid. The air-holes are predominantly at the waist (68 % of the recorded hollow specimens) or at the ears and the waist (27 %). The ware is Chancay Black-on-white (see Chancay 1.4) in a variety of hues. Three specimens (1078/Pl.83, 1187, 139/Pl.85) feature also some red paint, but are not of the 3-colour variety. SUB-GROUP 2.4: CHANCAY-HUAURA FIGURINES WITH ELONGATED HEAD (JECUAN SUBSTYLE)

Table 37 Plates 85-86 Sample: 7 figurines (examined all) Measurements Maximum Height (7) 33.8 cm Width (7) 17.7 cm Thickness (7) 9.5 cm Weight (6) 840 gr.

Minimum 9.9 cm 5.6 cm 4.6 cm 120 gr.

Median 19.7 cm 12.2 cm 7.0 cm 520 gr

GROUP CHARACTERISTICS

Apart from the elongated head-shape, this group is nearly identical with sg.1.5.3/Pl.74 and also related to 1.5.2A and even 1.5.2B. Shared features (different from sg. 2.3 above) include: triple "specs", face-paint covering the lower part of the face, very short arms with molded fingers, painted parallel lines on the abdomen and/or crossed fajas, specific modelling of the thoracic cage (cf.1935/Pl.86 with 1147/sg.1.5.3/Pl.74). 1035 has the open mouth of a Cantor (sg.1.5.2B). The headdress here is only indicated by a small black cap, without a headband or tumpline, except on 1447Pl.86; both 25 and 1029/Pl.85 have no caps, only three parallel vertical lines down the back (hair?). Only 1447/Pl.86 wears a tunic with vertical stripes and typical Chancay fillers (fish, circles and dot) as well as two tupos. In the back, 1447 carries a sprawling child with extended arms and legs. 25 and 1935 wear a necklace of molded beads. Manufacture: All the figurines are mold-made and hollow. Air-holes are placed at the waist (4), through the chest (2), through the ears, nose and mouth (1). Black-and-white ware (see Chancay sgs. 1.4, 1.5.3).

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CHANCAY SUB-GROUP 2. 5: FIGURINES WITH ELONGATED HEAD IN RED OR BLACK WARE (PHASES 3 AND 4) CHANCAY SUB-GROUP 2. 5.1: FIGURINES WITH ELONGATED HEAD IN RED WARE

Table 38 Plates 86 Sample: 5 figurines (examined all) Measurements: The figurines have a height between ca 7 cm and 13.7 cm, a width between 3.4 cm and 7.2 cm. and a thickness between 2.2 cm and 6.8 cm; two weights (150 gr. and 160 gr.) were recorded. DESCRIPTION: Very diverse figurines, described individually. 1337: Pointed head, modelling of cheeks, classic Chancay features (molded?), large concave ears. Hunchback with deformed thoracic cage and back; broad arms extended sideways, concave hands, fingers broken. Standing, conjoined legs with central groove, large feet, no toes. No visible genitals, small breasts. Cotton thread wrapped around neck, arms, legs, crossing like fajas over the chest and the back. Mold-made, solid, plain red ware. 1385: Not very elongated head, modelled naturalistic face and features. Straight body, folded arms pointing upwards, elbows, semi-circular concave hands; standing, conjoined legs, small feet, no toes. Incised, raised genital triangle and vulva; small breasts, large umbilicus. No clothing; appliquéd tumpline and bag, decorated with incised chevrons. Hand-made, solid, white on terracotta. 1754: Miniature sitting figurine, perhaps a pendant. Very high headdress with one perforation, molded classic features, short body, short extended arms, folded legs, no genitals, breasts, umbilicus, featureless back, no clothing or accessories. Mold-made front, handmade back, solid, plain terracotta. 1223: Sitting figurine with head tilted backwards; long face, naturalistic features, no facepaint; flap-like ears placed very high. Arms extended forward, hands broken. Thin folded legs, small feet, incised toes. No genitals. Helmet-like head-dress with lateral flaps and traces of large white (and black?) dots. No other clothing or accessories. Mold-made, hollow, with air-holes behind the upper arms. 7: Very elongated head, flattened at the top; molded hair. Face with modelling of the deep eye-sockets and nose-to-chin lines. Unusually large eyes and nose. Flap-like, elongated ears, placed very high. Short cylindrical body. Arms broken, originally extended. Sitting, thin folded legs, four finger-like toes. No genitals, breasts, umbilicus. Back shows modelling of hair, spine and buttocks. No clothing or accessories. Mold- and hand-made, hollow, with air-holes at the waist. Manufacture: see Description. CHANCAY SUB-GROUP 2.5.2: FIGURINES WITH ELONGATED HEAD IN BLACK OR BLACKSLIPPED WARE

Table 39 Plates: 86-87 Sample: 12 Figurines (examined 9) Measurements Maximum Minimum Height (8) 18.3 cm 6.7 cm Width (10) 9.9 cm 3.5 cm Thickness (10) 6.1 cm 2.0 cm Weight: only two recorded : 100 gr. and 250 gr.

Median 9.4 cm 5.3 cm 3.8 cm

GROUP CHARACTERISTICS

This sub-group is the equivalent of sub-group 1.6.2, but with an elongated head. In particular, it shares the incised decor with post-fired incrustations of white and red paint. Small differences include: very elongated head-dress (2064/Pl.86), widening at the top and

232

with three perforations 1; an incised (rather than painted) tump-line with a bag attached at the back (281, 2064/Pl.86, 1306/Pl.87); 281 has pendants or tassels descending from the headdress to the shoulders; 281 and 2064 wear belts with an incised lozenge-and-dot design. 282 is a sitting hunchback. The solid one-mold figurines with vertical incisions at the sides of the chest, long incisions for toes etc. are nearly identical with 1727, 1728/ 1.6.2C/Pl.79 and even the red ware 348/1.6.1C/Pl. 77). On SAC 310 and 495 the top of the head is broken, but must have been elongated. 1306 has lower head and a head-dress with two small perforated protuberances (bilobation?), but is included here because it carries the typical Group 2 bag attached to a tumpline; other differences of 1306—but which occur in sg. 1.6.1!—are the double incision at the waist, the bulky necklace and disk ear-plugs with cross-and-dot design. Manufacture: Five figurines are mold-made, hollow, with air-holes at the waist (2) at the ears and waist (2), and the ears only (1); the remaining specimens appear to be made of one frontal mold only, but are hand-finished; they are solid, mostly with perforations through the chest. The ware and incrustations are as in Chancay sg. 1.6.2. CHANCAY SUB-GROUP 2.6: SPECIAL FIGURINES WITH ELONGATED HEAD

Table 40 Plate 87 Sample: 5 figurines (examined 5) Measurements: The figurines have a height between 30.0 cm and 61.5 cm, a width between 18.5 cm and 36.5 cm; a thickness (three specimens) between 9.5 cm and 17.5 cm; the only recorded weight is 870 gr. (for 1242, the smallest figurine!) DESCRIPTION

1747, 2190: Male personages with a high-status headdress. Moderately elongated head deformation. Painted cheeks (1747), modelling of cheeks (2190), large eyes with modelled lids, straight nose, nostrils (1747), and alae (2190), smiling mouth, conch-like ears, rounded, slightly jutting chin. The body is different: bulging at the hips, tapering towards the feet and with a typical hunchback deformation of the thoracic cage (1747), straight lateral outline and straight, fairly flat profile (2190). Arms extended sideways and upwards, very short with pointed elbows on 1747, longer on 2190. Concave hands, triangular fingers (1747), incised, straight fingers (2190). Completely separate legs; large, flat feet protruding all round, triangular toes (1747), smaller feet, toes with modelled toenails (2190). Relatively small penis and testicles. Nipples, umbilicus (1747 only). Back: modelled and incised spine (1747), no features (2190). Headdress: 1747: the tall rounded helemt-like cap shows two small picos and is decorated with an appliquéd band with incised broken-line-and-dot design, passing through a crescent at the front and holding in place a conch on the left-hand side. 2190: Helmet-like, with lateral flaps and descending to the neck at the back; decorated with a conch on the right and one pico on the left. No other clothing or ornaments. Both specimens are hand-made, hollow, with a variety of air-holes (see Table 40). Red ware, with white, red and dark brown decor (1747), plain (2190). 767: belongs to a similar stylistic tradition as 1747. Elongated head, fine modelled face with slanting eyes and hooked nose. Straight body, fairly straight and narrow in profile, but showing a slight hump below the neck; tiny flat arms extended upwards, hands with four modelled fingers; very long legs with huge modelled calves, broad flat feet, incised toes. Genitals as above; no nipples or umbilicus. No clothing, except the headdress with lateral flaps, descending to the neck at the back. Mold-made head? and hand-made body, hollow, air-holes through the ears. Buff slip on red ware; some of the painted decor (black eyebrows and chin outline) may be a recent addition. 1242: Elongated head tilted backwards, with a tall headdress flattened at the top; naturalistic features. Wide upper body tapering towards the feet, flattish profile. Arms with marked elbows extended upwards, slightly concave hands, incised fingers. Straight conjoined 1 This rare headdress shape also occurs on two other Chancay figurines in the SAC collection (SAC 476 and SAC 477): the catalogue photographs were not clear enough to list these figurines here.

233

legs, small feet, incised toes. Raised genital triangle, incised vulva; nipples, umbilicus. Featureless back. Headdress with lateral flaps at the sides and back, molded borderband with chevrons; necklace of two rows of molded beads. Two small rows of coral beads attached to the ears, and a large row of shell and glass(!) beads wound around the neck, could be later additions. Mold-made with air-holes at the waist, white slip. 2270: Figure of a pregnant? woman with a huge abdomen, hanging bosom and prominent modelled clitoris and umbilicus. The head is rounded, but several aspects, such as the overall dark clothing and the large tupos, are typical for Group 2. It is not clear whether the feature at the back is the typical Group 2 bag or part of the head-dress. The facepaint with curlicues is rare in Group 2. The figurine could have a mold-made head and partly hand-made body, it is hollow with air-holes at the ears. Manufacture: see Description DISCUSSION (SGS. 2.1 TO 2.6) To recap: Of a total of 109 figurines in Group 2, 78 figurines are standing, 31 are sitting. All except three specimens (in sg. 2.6) are probably female (the sex is not indicated on 31 figurines). Like in Group 1, early specimens have folded arms, the rest have extended arms; only two specimens have two sets of arms (237/Pl.81410/Pl.85), but they clearly belong to phase 3 or 4. There are four hunchbacks (67/2.1/Pl.80, 2044/2.2/Pl.80, 282/2.5.2/Pl.86, 1747/2.6/Pl.87). As many as 33%—probably more—carry a bag on their back, four carry a child, a further two cradle a child on their lap. Most figurines are mold-made and hollow, with air-holes as in Group 1 (depending on the phases). About 5% of recorded specimens appear hand-made, another 10% are hand- and mold-made; four or five figurines are made of one mold only. Special features/Links with other groups The classic black-on-white sg. 2.3 figurines differ greatly from their cuchimilco counterpart (sg. 1.4.2). Clearly we are dealing here with a different personage, as suggested in the introduction to Group 2. Differences include: the elongated head shape, the facial features, especially the eyes, which tend to be larger and often rounder, also the nose, the face-paint—here mainly tear-marks, often shown as short broad double lines not linked to the eyes, always absent on the cuchimilco, while "specs" and lower cheek decor are

204/1.4.2

116/1.4.2

585/2.3

1232/2.3

Fig. 60: Profiles of Chancay cuchimilcos (204, 116) and Group 2 figurines (585, 1232)

extremely rare (see Fig. 60)—and the clothing. This generally consists of a black tunic, often with a wide patterned waistband (on some figurines the clothing covers the whole body), often with large circular tupos at the shoulders. Over 40% of the figurines carry a load on their back, mostly a patterned bag, attached to the forehead by a tump-line, four figurines also carry a child. The workmanship is also different: whereas many of the large cuchimilcos (see Pls. 6467) are very carefully made, most of Gr. 2 figures are more carelessly manufactured. Even important specimens like 585, 1232, P557/Pl.81, show drips of paint on their legs, not to mention other carelessly made figurines in the group. One feels that they must come from different workshops. Occasionally however, we see a definite resemblance—apart from the head shape—between a Gr.2 figurine and a cuchimilco: compare f.i. SAC 398/Pl.83/sg.2.3, with its high forehead, foreshortened face and thick "specs", with 1233 and 2427/Pl.66/sg.1.4.2. The figurines of the Jecuan sub-style (sg. 2.4) and the black ware figurines (sg. 2.5.2) are more closely related to their equivalents in Group 1 (sgs. 1.5.3, 1.6.2), with similar clothing

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and/or body- and face-paint. The red ware specimens (sg. 2.5.1) and the "Specials" (sg. 2.6) are quite different from the rest of Group 2 and from Group 1. Regarding 1747 and 2190/Pl.87, two large "Specials", with a conch on their headdress, these have an elongated head, but do not carry a load. One of them is a hunchback with an unusual rendering of the spine. Note a figure, originally part of a vessel (Fig. 61: EMB VA 48492), with an elongated head and head-dress adorned with a large conch, which also carries a bag on its back; it is aid to come from Huacho. On other vessels the conch also appears on the headdress of Chancay "attendants" (Lavalle and Lang 1982:54 left and 83). These figures—identified as attendants by their headdress Fig. 61 (see Chancay Group 4)—are part of a whistling vessel and one of them plays a musical instrument. The conch itself may also have been used as one. One possible interpretation therefore, combining the foreign origin with the role of attendant, is that the males of sg. 2.6 represent slaves, perhaps musicians in the service of a Chancay lord. Context One figurine (C 147b/sg. 2.1) was found in a workbasket, associated with two further figurines (see Appendix 3). Eight figurines—all in sg. 2.3—come from documented graves. Amongst these 837, 838, 845 (standing) and 840 (sitting) were found in Horkheimer's Lauri grave LA(4), inside the same fardo with another unrecorded figurine (La(4)LI: see Cornejo Guerrero 1985: Appendix 2, pp.21-22). 1996, from Uhle’s grave B2 at Lauri, was associated with four Group 1 and one Group 3 figurine (see Appendix 3). There are no data about the age and sex of the burials. Three further figurines (237/Pl.81/sg.2.3, with two sets of arms, P561, P562/Pl.87/sg.2.5.2) were excavated by Reiss and Stübel in the Ancón necropolis. P562 was attached to the neck of a small gourd container (Reiss and Stübel 1880-1889: vol.III, Pl.82, fig.2, caption). The description refers to containers for the chalk used in coca-smoking. The figurine must have served as an amulet. As in sg. 1.4.2, some of the large, better made figurines are in mint condition and may have been specifically produced as grave goods. Geographic distribution Chancay 2.1-2.2 Certain Fairly reliable Unverifiable Chancay 2.3 Certain Fairly reliable Unverifiable Chancay 2.4-2.6 Certain Fairly reliable Unverifiable

Huaura V. 2

Chancay V.

Ancón

Chillón V.

Others

1 1

4 2

7 6 3

1 2 1

1 4

Pachacamac 1 4 2 1 2

1 1

1 Vic. of Lima

4

Of a total of 34 certain or fairly reliable provenances 23 or 24 1 (70.6 %) are from the Chancay and Huaura valleys against 4 or 5 (11.8 %) from Ancón and 6 (17.6 %)—of which only one (3%) is certain—from the Chillón valley. This strengthens the argument that the figurines may have been linked to a pilgrimage of people from the Sierra to a shrine in the 1603/Pl.85/sg.2.3, given a "Chancay" provenance at the FMC, is illustrated amongst the figurines excavated by G. Dorsey at Ancón. However a doubt subsists as to the precise provenance (see Appendix 2, Collections).

1

235

Huaura valley (see above). But note that—as in sg.1.6—red- and blackware Group 2 figurines (sgs. 2.5.1, 2.5.2) have marginally more provenances from the Ancón and Chillón area. Chronology The chronology is based on traits discussed and dated under Chancay Group 1 figurines: Sub-group 2.1: Like Chancay Group 1 the early Group 2 figurines have folded arms. They are assigned to Chancay mainly because of the wares (red- and white base 3-colour geometric, and black-onwhite), but they obviously have common origins with Huaura-related figurines with elongated head, especially with 851/Pl. 41/Huaura Gr. 3. Early traits also found in both Huaura and early Chancay Group 2 figurines include: circular eyes, overall face-paint or zoning of the eyes and cheeks, folded arms, often with a painted outline, hands with three fingers, horizontal lines across the legs, modelling of the knees, outlined genital triangle, sometimes with fillerelements (see the typical 3-colour bird foot motif on 357/Pl.80); necklace of large molded beads; slip or decor applied in front only, air-holes behind the upper arms. The sub-group therefore dates to Chancay late phase 1 and phase 2. However, I have doubts regarding the dating of 473/Pl.80: it has many early traits (see above) and altogether an early look; but the shape of the head and the bag (or perhaps animal skin) it carries at the back, is similar to that of 1187, 410, 139/sg. 2.3/Pl.85) which are undoubtedly late. Another possibly late trait of 473 is the replica of a genital triangle incised on the buttocks and the bulky necklace (cf. sg.1.6). Sub-group 2.2: The arms are now extended, but P555 is made of red base 3-colour geometric ware, and its decor of diagonal stripes with white circles and dark central dot resembles the headdress of 674/Pl.52/sg. 1.3. Some early traits, like the genital triangle outlined in paint and painted lines across the legs, still occur on some specimens. For 834, from Pisquillo Grande Grave 3, a transitional phase 2 to 3A dating is given by the gravelot (see Chancay chronology). The black-on-white 1027 has early traits combined with later Jecuan-related face-paint with curlicues. The three sitting figurines still have features, such as the relief headband, combined with the stepped cheek zoning and bird decor, reminiscent of early black-on-white cuchimilcos (cf. 2262/Pl.48/sg.1.1.3, 100/Pl.53/sg.1.3.2); the thin, folded legs also have an early antecedent in 851/Pl. 41/Huaura Gr.3, even though the phase 2 and early phase 3 sitting figurines usually have legs extended forward (e.g. 1781/Pl.48/sg.1.1.3, 792/Pl.54/sg.1.3.3, 1917/Pl.60/ sg.1.4.1A, 1745, 781/Pl.79/sg.1.6.2), though admittedly those are all hunchbacks! This subgroup therefore dates from late phase 2 to early ? phase 3. Sub-group 2.3: Four gravelots allow to date most of this group to phase 3. Phase 3A includes 837, 838, 840, 845 (all from Lauri Grave 4) and 835 (Pisquillo Grande Grave 4). 844 (Lauri Grave 8) and 1996 (Lauri Grave B2) probably belong to late phase 3 (see Chancay chronology). Stylistically it is difficult to pick out chronological differentiations within the group, the distinctions residing mainly between well-made, important specimens (e.g. 585, 849/Pl.81, 840, 1078/Pl.83) and lesser figurines, rather than in features like more rounded or pointed heads, etc.; an incised triangle, replicating the genital triangle, on the buttocks (e.g. 585, 1135, etc.) is a late feature. It is also more difficult to set up criteria for a phase 4 (LH) in this group than in Group 1, as the sample does not feature any of the typical Late Horizon traits listed for sub-group 1.6 (see above 1.6. chronology): • 1187, 410/Pl.85 (sitting) deserve special mention because they have a very different look both from standard phase 3 specimens and the non-Chancay LH figurines with elongated head (LH Gr. 2). The starting point for dating these two figurines is their resemblance with 1242/Pl.87/sg. 2.6, which looks much like a metal Inca figurine. It shares aspects of its unusual headdress (molded edges around the face, lateral flaps,

236

back flap descending to the neck or below at the back) with other figurines in sg. 2.6 (2190, 767/Pl.87). 1187, 410 share the bulky relief headdress border and an undeniably "modern" face with 1242. At the same time they carry the unusual bag (or animal skin?) of 473 (sg. 2.1), the dating of which is uncertain (see above). 410 also has two sets of arms, generally a phase 2 characteristic, though there is one other late exception (827-atypical/1.6.2C/Pl.79) and there are also doubts about the (early?) dating of the atypical 340/Pl.51/sg.1.2.4. On balance these 1187 and 410 probably date to the later part of phase 3 or to phase 4. • The same problems arise with 139 and 1340/Pl.85. 139 has the same strange load at the back, as the early 473/2.1 and the late 1187, 410/2.3, and air-holes behind the upper arms, usually an early position. 1340 has a feature (load?) at the back which resembles that of late MH Huaura 3 figurines (1258, 859, 2407/Pl. 41). Both 139 and 1340 seem to lack arms, which adds to the confusion: as we know folded arms can be both early or late. However the overall look, the thin folded legs, and features on 139 like the necklace (with painted, not molded beads), or the large nostrils and mouth (resembling the late 7/Pl.86/sg. 2.5.1) speak for a late date, possibly phase 4. Other figurines probably dating to phase 4 are 1433/Pl.83 (incised hair at the back and a late look: it wears a necklace containing glass beads!) and 1377/Pl.81, also with incised hair, a genital triangle at the back and one folded, one extended arm. Sub-group 2.4: All the figurines of the Jecuan sub-style date to phase 3 (see chronology Chancay 1.5.3). Sub-group 2.5.1- Red ware: In the absence of datable features, the overall impression for 1385, and 7, with handmade, incised and appliquéd features is late (late phase 3, phase 4). 1223 is difficult to date because it has some early features: possibly the ware, with traces of black and white on terracotta; air-holes behind the upper arms; arms extended forward, an unusual feature also occurring on the early 674//Pl.52/sg.1.3.1, whilst the thin folded legs could be early or later. However it shares the headdress with lateral flaps with 1187, 410/Pl.85 /sg. 2.3 and especially with 1242//Pl.87/sg. 2.6, which are undoubtedly late. The rather naturalistic face is also late rather than early. On the whole it probably dates to late phase 3 or phase 4. Sub-group 2.5.2 - Blackware: 282, 281 and 2064, mold-made in the Chancay tradition, but with some decorative elements (headband with broken lines and multiple dots (282), lateral pendants to the headdress (281), waistband with lozenges with central dot), are post-classic, e.g. late phase 3 or phase 4. 1376 with its incised features, especially the double waist line is also late, as are the remaining specimens, probably all made with one (frontal) mold only. The unusual 1306, included here because of the bag carried at the back, shows a number of phase 4 traits: thick eye-brows, large ear-plugs with cross-and-dot design, bulky necklace, double incised waistline (c.f. Chronology sg. 1.6). Sub-group 2.6 - Specials: The Inca aspect of 1242 was discussed under sg. 2.3 above. Figurines like 1747, 2190, 767 belong to a somewhat different tradition, related to Chancay-Huaura (male genitals, pinky-white slip on 767), but their "baroque" aspect clearly fits into the end of the Chancay sequence (cf. sgs. 1.4.3, 1.5.3 etc.). 2190 and 767 also share the flaps at the sides and back of the headdress with 1242. All are late Chancay, probably phase 4. 2270 with its undeformed head, Group 1 and 2 features ("specs" and lower cheek face paint, tupos and all over painted clothing), as well as other unusual features, like the square panel in the back, reminiscent of the MH, and a prominent clitoris, could be a fake. But is it somehow too odd to be a fake? If authentic, it is probably very late and could even date to early colonial times?

237

GROUP 3: THE CHANCAY “WITCH” The 49 figurines in Group 3 show a mythical or legendary female with animal overtones. The personage depicted is confined to the Chancay culture and I suggest the name "Witch" (Bruja) to emphasize the unusual—probably mythical—and female character. Its characteristics include an undeformed, globular, often somewhat flattened head, crowned by two lugs and reminiscent of an animal head, perhaps that of a cat; a face with high cheekbones and slit or coffee-bean eyes; a globular body, often with emphasised breasts, extended arms and with either small projecting feet or thin folded legs. There are two subgroups, described and discussed together: SUB-GROUP 3.1: THE BLACK-ON-WHITE “WITCH” SUB-GROUP 3.2: THE “WITCH” IN RED OR BLACK WARES

Tables 48-49 Plates 88-91 Sample: Sgr. 3.1: 30 figurines + 5 atypical (examined 27) Sgr. 3.2: 13 figurines + 1 atypical (examined 11) Measurements Sub-group 3.1 Maximum Minimum Median Height (26) 38.0 cm 6.9 cm 14.9 cm Width (17) 27.0 cm 6.1 cm 11.0 cm Thickness (21) 16.0 cm 3.6 cm 7.9 cm Weight (10) over 1,000 gr. 100 gr. 230 gr. Sub-group 3.2 Maximum Minimum Median Height (8) 23.5 cm 13.5 cm 19.7 cm Width (7) 18.1 cm 13.0 cm 14.1 cm Thickness (13) 15.0 cm 7.8 cm 11.6 cm Weight (5) 1,200 gr. 550 gr. 720 gr. GROUP CHARACTERISTICS

Mostly medium-sized, and generally sitting figurines. The head has a rounded crown, always featuring two small lugs; it is globular, somewhat flattened, generally lacking the usual fronto-occipital cranial deformation in profile. The face is wide, foreshortened, characterised by modelled eye-sockets, high cheek-bones and/or chubby cheeks; face-paint on black-andwhite specimens is varied, often sloppily executed; the most common form are "specs" combined with cheek decor and outlining of the chin (e.g. 1102/Pl.88, circa 50%); others only have cheek decor or zoning of the eyes and/or the mouth (e.g. 44, 66/Pl.88); 376/Pl.88 only has painted eyebrows, 2046/Pl.89 has tearlines; P565/Pl.89 has vertical lines below the mouth. Red- and blackware specimen have no face-paint (exception SAC 256, 254/Pl.90), but note the deep incised nose-to-chin lines on 388/Pl.91. The typical eyes are often appliquéd, coffeebean in shape: narrow, slit, slightly slanting (e.g. 376/Pl.88); on less well-made figurines they are non-descript, sometime circular (e.g. 61, 2046/Pl.89, outlined in black; note the modelled eye-brows and large oval eyes on 329, 388/sg. 3.2.1/Pl.91. Nose: often the typical Chancay nose, fairly small, straight, with nostrils (very large on 61/Pl.89) and alae; occasionally larger, upturned (e.g. 1916/Pl.88, 329/Pl.91); but unspecific on less well-made specimens. Mouth: mostly molded, can be wide, sometimes turned up at the corners (e.g. 508/Pl.88) or very small (e.g. 2417/Pl.89, 254/Pl.90), appliquéd (e.g. P565/Pl.89), not shown on 61/Pl.89. Ears: vary in size, mostly semi-circular, more or less concave, circa 35 % perforated (air-holes); very prominent on SAC 355, 2417, C151/Pl.89, hardly visible on 1991/Pl.88, 334/Pl.90; not shown on 61/Pl.89. Chin: Mostly broad, rounded (e.g. 1102/Pl.88), and jutting in profile (e.g. 376/Pl.88). Always outlined in black in sg. 3.1. Neck: Very short (longer on SAC 375, 2417, C151/Pl.89), but marked, also at the back. Body: Broad and stocky, also in profile. Two basic shapes: square, with straightish sides, resting on a broad base (e.g. 66/Pl.88, circa 65%) or tapering markedly towards an ovoid base (e.g. 1319/Pl.88, circa 31%). Shoulders vary, the chest is wide, often with some modelling of the breasts/the thoracic cage (e.g. 376, 508/Pl.88). The abdomen is rounded on the ovoid specimens; the waist is rarely indicated; note the vertical grooves on 590/Pl.89. The profile 238

can be broad, with a rounded back (e.g. 376/Pl.88. 1475/Pl.91), often with a slight hump shown above the narrower buttocks (e.g.1464/Pl.88, ); 488, 2046/Pl.89 have a straighter, narrower profile; 539/Pl.88, 254/Pl.90 are hunchbacks with a protruding thoracic cage at the front and back. Arms: Extended sideways and/or upwards. The shape varies from broad, winglike (e.g. 44, 66/Pl.88), often very short (e.g.C150/Pl.89), to thinner, with or without modelled elbows (e.g. 1319/Pl.88, 1475/Pl.91, 2255/Pl.89); on 1103/Pl.88 arms start very low on the body; SAC 375 and 2417/Pl.89 only have projecting hands. Hands can be large, circular, concave; fingers, marked by notches, are shown on all but five figurines. Legs: all the figurines with thin molded folded legs (e.g. 1319/Pl.88, 488/Pl.89, 1475/Pl.91 etc) are clearly sitting, as are those with small feet projecting from the body (e.g. SAC 355, P565/Pl.89, 334/Pl.90, etc.); 591/Pl.91 is resting on a low circular base. The remaining figurines have short feet projecting at the base (e.g. 44, 376, 1464/Pl.88, etc.)—but unlike Supe figurines with this feature—the low waistline and/or the profile suggests that these are also sitting; 539/Pl.88 and 1143/Pl.91 are standing, as are several atypical specimens. Feet are sketchy: where legs are not depicted they are bulky protuberances (e.g. 66/Pl.88), rarely with incised toes; where legs are molded or appliquéd, the feet are tiny, paw-like (e.g. 388/Pl.91) or not shown (e.g. 488/Pl.89). Genitals 1: 57 % are clearly female, with a slightly raised or incised genital triangle and a vulva marked by a depression (relief on 1991/Pl.88); the rest have no genitals, but can be considered female because of their other characteristics. Breasts: Small nipples are always shown; 376, 508, 1103/Pl.88 have pendant breasts. Umbilicus: Shown on about 62%. Back: Rounded, prominent, occasionally with some modelling of the buttocks or a groove down the spine. Note 375, 1143/Pl.91, both with a flatter back, markedly leaning backwards. Clothing painted on the back as in front. Clothing, accessories: Headdress: In sg. 3.1 it consists of a smallish painted skull-cap, surmounted by two projections (horns or lugs?) which may or may not be part of the headdress. On 44, 66, 1102, 1319/Pl.88, 590?/Pl.89, the cap is decorated with large dots and terminates in a point in the front and the back (1319), in the back only (44, three points on 66); 1991/Pl.88, P565 and C150?/Pl.89 show a criss-cross design; 16 figurines wear a plain black cap (ending in a point at the back on C151/Pl.89), with a line below (SAC 355/Pl.89); 0n 1314/Pl.88 2 and 2417/Pl.89 only the lugs are painted. No headdress visible on sgs. 3.2.1, 3.2.2. The two lugs are located on the top of the head (placed at the back, one broken on 1314/Pl.88, 329/Pl.91), broken off on some specimens. They are mostly short, triangular and perforated (no perforations on 2046/Pl.89, 1102/Pl.88 has two perforations in the right lug, 1744/Pl.91 has two perforations in each lug), occasionally longer and/or more rounded (e.g. SAC 355/Pl.89), and can be either very close together or separated by a space varying in size; 508/Pl.88 has no lugs, but shares all the other characteristics of Gr.3. Clothing: In sg. 3.1 all the figurines wear an item of clothing descending to the waist (below on 2046, SAC 375, 2417/Pl.89). This can be a tunic, plain black (51%), or decorated with vertical stripes (2046/Pl.89), or an overall design (C150, 2255/Pl.89), or a string vest, consisting of three or four horizontal bands (44, 66, 2416, 1991, 1319/Pl.88); crossed fajas (539/Pl.88, P565/Pl.89), also with additional horizontal bands below (488, SAC 355/Pl.89). In sgs. 3.2.1 and 3.2.2 no clothes are shown, but 375 and 1475/3.2.1/Pl.91 wear disk ear-plugs with punctations. 1744/sg. 3.2.2/Pl.91 was found wrapped in textiles. No jewels. Manufacture: The majority of figurines are probably mold-made, though some of the larger specimens may have a mold-made head and hand-made, coiled body, with the arms attached separately? No Gr.3 molds were recorded for this study. The eyes can be appliquéd in some cases, as well as the legs on 1475/Pl.91. All but two specimen are hollow, with airholes at the ears and waist (17 specimens), at the waist (15 specimens), at the shoulders and waist (2 red ware specimens). In sg.3.1, the ware is the typical Chancay black-on-white (see sg.1.4). Several specimens show sintering of the black areas (66, 539). The workmanship can be quite poor. In sg. 3.2.1 the ware is mostly unslipped red ware, with about half of the figurines 1 2

The genitals are described from the records, as they are hardly visible on the photographs: Not visible on photograph. 239

showing traces of a white decor. In sg. 3.2.2, the ware is reduced-fired black ware. 591/Pl.91 has white and red post-fired paint at the eyes and mouth. Atypical: Sub-group 3.1: 885, 1081: share some of the above features (the globular, slightly flattened, undeformed head, topped by lugs, though they are not perforated, the sitting position with thin folded legs, 1081 also has the narrow, coffee-bean eyes). But 885 lacks the facial features of Group 3, though the unusual face-paint (vertical lines across the mouth) also occurs on P565/Pl.89. It has folded arms decorated with painted designs, and holds two modelled crossed ropes to which a small elongated bundle is attached at the back. 1081 has unusual flat, appliquéd folded arms, one lifted to his cheek, the other on the chest, tear-marks, and very large conchlike ears. Both are mold-made (1081 with hand-made arms), hollow, only 885 has air-holes at the waist, 1081 has no air-holes. 2271, 1894, 2256: All three specimens are clearly related to the Chancay-Huaura, more specifically the Jecuan sub-style, but fit better into this group than into others: they share the lugs, and—up to a point—the undeformed head of this group, though 1894 has a flatter head in profile, and 2256 has a somewhat elongated head-shape, though undeformed in profile. But all three are standing on separate legs and only 2271 has the bulging abdomen common to this group. All three have face-paint with specs and lower cheek decor. 2271 and 1894 wear a combination of vest and crossed fajas; 2256 has a thick stripe painted across the abdomen (cf, SAC 350/Pl.74/sg.1.5.3. 2256 wears a black cap with a large white dot, similar to the caps on some sg. 3.1 specimens, but with painted hair at the back. They are probably wholly or partly mold-made, hollow, with air-holes at or above the waist, made of the yellow-white and brown variant of the black-on-white ware. Sub-group 3.2.2 C152: appears to be a large figurine (measurements unknown) with lugs, heavy modelled eyebrows, modelled, incised (appliquéd?) eyes, and a small appliquéd mouth, all characteristic of this group. But we do not know whether the head is deformed or not. The stocky body with large abdomen has folded arms and is standing on thick, modelled, completely separate legs, with flat protruding feet. The large genital triangle and the vulva are incised. No data on manufacture. DISCUSSION

There are no obvious antecedents for Group 3 figurines. If we take the specific elements separately, we see that: • Horn-like projections, rather than perforated lugs, associated with undeformed heads, occur on two Middle Horizon figurines: 426/Pl.16 (CC-Early MH sg..2.1, associated), and 542/Pl.36 (Huaura sg. 2.2.1), but they do not share any of the other attributes of Group 3. Two to four projections, perforated or not, are common on the headdress of Huaura and Chancay-Huaura figurines, but they are clearly part of the headdress and are an exclusively male prerogative. The smaller lugs, as featured in Group 3, never more than two in number, may be a development of or have the same meaning as the bilobation, quite common in earlier Chancay (e.g. 799/Pl.47/sg. 1.1.2, 378/Pl.50/sg.1.2.2, 1019, 594/Pl.53/sg.1.3.2, 1250/Pl.54/sg.1.3.3, all perforated). An early form of the lugs may be those of the sitting hunchback 792/Pl.54/sg. 1.3.3, placed on the decorative border just above the forehead, rather than on the crown. • The undeformed head is unique in the post-MH Central Coast tradition, as are the slit eyes and high cheek-bones and the often—but not always—rotund body: all these characteristics only occur in Group 3. There is perhaps a cat-like aspect to the personage, with possible antecedents in Late MH sg. 3.1 (Chapter 7) and parallels in textile representations (Lavalle and Lang 1982:139; Anton

240

1984: no.130; Lommel 1980: no.412). At present there are no clues as to what personage or deity this figure depicts. Special features/Links with other groups 1995/Pl.88 (from Uhle's Grave B2 at Lauri) has a prominent forehead, typical of the Chancay monkey and a body with an unusual emphasised waste, but was included here because of its lugs. A few late specimens (329, 1475, 388/Pl.91/sg. 3.2.1, the atypical C152/Pl.91/sg. 3.2.2) do not strictly fulfil the criteria dividing Chancay from non-Chancay (see Chancay chronology), but as they are so few and so Fig.62 closely related to Group 3 they were included here. The atypical 885/Pl.90/sg.3.1) carries a bundle on its back, a feature typical for Chancay Gr. 2. However the figurine lacks the elongated head and the bundle has a different shape. Three figurines "associated" to sg. 3.1 (2271, 2256, 1894/Pl.90) are related to ChancayHuaura: compare the double “specs”- rising at a sharp angle on 2271, 2256 - face-paint covering the cheeks and mouth, the thick stripe across the abdomen on 2256), with ChancayHuaura figurines on Plates 70-74). Chancay huacos featuring the Group 3 "Witch" are rare; the only one known to me has the typical face and body, but no lugs (Fig.62: MAL 1935). Two Ychsma figurines, reminiscent of the Chancay "Witch", were found as an offering on Huaca Pucllana in Lima (P573, 2323/Pl.103). They have the same undeformed head, high cheek-bones (but standard eyes), bulbous body (but folded arms). Note also the uplifted face of 2323, similar to some of the red ware specimens (sg. 3.2.1/Pls. 90, 91). Context Three figurines are known to come from graves: 1991/Pl.88 comes from Uhle's La Mina grave A1 and was associated with 1990/sg.1.4.1B and a number of vessels; 1995 comes from Uhle’s grave B2 at Lauri and is associated with several sg. 1.4.1A and 1.4.2 cuchimilcos, as well as one Group 2 figurine (see Appendix 3). Another figurine (La 11 XLVIII) 1is probably also a black-on-white "witch", according to Cornejo's description: Figurina Antropomorfa de sexo indefinido, cuerpo ovoide. Las extremidades inferiores están insinuadas, las manos y los pies son aplicaciones escultoricas. La cabeza...presenta dos pequeñas asas en la parte superior...Presenta una decoraclón pictórica negro sobre crema, con algunos diseños en cruz y lineas en el cuerpo...(1985: App. 2, p.38); it comes from Lauri grave 11, a large burial, containing one fardo (age and sex not specified) and at least 54 ceramics. The bodies of two dogs, wrapped in textiles, were placed above the tomb (Cornejo 1985: App.1:34-37, App.2, 29-39). Geographic distribution Sub-group 3.1 Certain Fairly reliable Unverifiable Sub-group 3.2 Certain Fairly reliable Unverifiable

Huaura V.

Chancay V.

Ancón

1 2

2 4 2

2

1

1

Chillón V. 3 1 3

Others

1 ( near Lima)

2 (Pachacamac)

We see that the black-on-white figurines (sg. 3.1) come mainly from the Chancay/Huaura area, whereas the red- and blackware specimens (sg. 3.2) are more common in the Ancón/Chillón area, as is the case with phase 3 and 4 figurines of Groups 1 and 2 (cf. 1.6, 2.5).

1

This figurine was not included, as the illustration is very sketchy (Cornejo 1985: App.1, p.36, bottom). 241

The attribution for the Vicinity of Lima and the two attributions for Pachacamac are doubtful—even though they come from the usually fairly reliable van den Zypen/Gretzer collection—because no such figurines occur in excavated material from these areas. Chronology Sub-Group 3.1: There are three dated gravelots for this type: Horkheimer's grave Lauri 11 1, dated by Cornejo (1991:108) to phase 3A and Uhle's graves from La Mina A1 (1991) and Lauri grave B2 (1995) dated to phase 3B. The overall aspect of the figurines confirms a phase 3 dating, except for the zoning of the face, an early trait on Group 1 figurines, which occurs here on some classic sg. 3.1 specimens (cf. 66, 539, SAC 354, 1314/Pl.88). Sub-Group 3.2: Sub-group 3.2.1- Red ware: Seven figurines (SAC 361 to 329) belong to phase 3, by analogy with sg. 3.1 specimens. Four of of the remaining figurines show phase 4 traits (as described in 1.6): punctated ear-plugs (1475, 375) punctated nipples (1475), thick arched eye-brows (388), an incised square genital pattern (441, cf. Group 6); 329 and 1475 have air-holes at the shoulders—a typical LH (non-Chancay) trait—as well as at the waist. Sub-group 3.2.2- Blackware: 1744 dates to phase 3, 591 with its white and red post-fired incrustations and applied mouth can be dated to the very end of that phase, by analogy with sg.2.5.2; C152 with its thick eyebrows and emphasized shoulders probably dates to phase 4. GROUP 4: THE CHANCAY "ATTENDANT" Table 43 Plates 91-93 Sample: 21 figurines + 1 atypical + 3 associated (examined 18) Measurements: Maximum Minimum Median Height (21) 15.9 cm 4.9 cm 9.9 cm Width (17) 9.0 cm 4.0 cm 6.6 cm Thickness (18) 5.2 cm 1.9 cm 3.7 cm Weight (10) 220 gr. 30 gr. 110 gr. GROUP CHARACTERISTICS

Small standing figurines characterised by their typical clothing, consisting of a twocornered hat, a tunic and/or a bulky necklace. The fairly large head features a headdress with protuberances at each side of the crown (hardly visible on 63, 85/Pl.92), a shape which could imply bilobation. In profile the head is flattened (fronto-occipital deformation). Exception: 1138/Pl.92 with a flat headdress and no deformation. Face: Often triangular with normal proportions; minimal modelling of the cheeks. Traces of face-paint: cheek decor (498, 1704), zoning of the mouth (SAC 273), tears (2314), “specs” (1704), zoning or outline of eyes (481, SAC 324, SAC 265); incised nose-to-chin lines (1606, SAC 423); 2313 has post-fired red paint on the face. Oval to pointed chin, straight in profile, mostly outlined in black. Eyebrows: Often hidden by the headdress. Eyes: fairly large, elliptic, with molded lids, raised eyeballs, sometimes pupils painted black (exception: 83 with circular eyes, thick molded lids and pupils outlined by deep incision). Nose: Small, fairly straight, rarely with nostrils and alae; small mouth with molded lips. Ears: small, semi-circular, indicated on circa 75%, often inscribed within the outline of the head. Very short neck. Body: Mostly fairly squat; lateral outline determined by clothing; straight, flattish profile; 1606 and 482 are hunchbacks. Arms: Extended sideways on ca 60%; 149 has appliquéd arms folded downwards, 63 has narrow bulges at the sides, possibly folded arms; SAC 423, 2200, 2313,1138 have folded arms. Hands: mostly sketchy, circular, slightly concave, or not shown; incised fingers on four specimens only. Legs: Vary in length; mostly conjoined, with a deep groove, completely separate on 498, 273; occasional modelling of the knees (497, 1704); can be quite broad in profile (498, 149). Feet protruding more or less, incised toes on four 1

The figurine in grave Lauri 11 is not included in the sample: see above "Context". 242

specimens. Genitals: Not indicated as hidden by clothing; exceptions 1383, SAC 369?, with incised female genital triangle. Breasts: shown on SAC 273, 497. Umbilicus: hidden by clothing. Back: Often features parts of the headdress in relief, the painted tunic and/or molded buttocks. Clothing, accessories: Headdress: characterised by two projecting corners, generally separated from the cap by diagonal bands. The projections, perforated on 481, 482, vary in size and angle (cf. 498 with SAC 324); the diagonal bands can be molded in relief, also at the back (e.g. 498, 497), incised, or simply painted; they are not shown on 1704, 482, 273. On some specimens, the lateral projections are replaced by loops formed by the bands (2200, 2313, 63?). The Fig. 63 cap can have a molded (e.g. SAC 273), incised (e.g. 1383) or painted border (e.g.1704, with a broken-line-and-dot motif). On blackon-white figurines the cap and its projections are generally black, the diagonal bands and the border white; 482 has vertical stripes painted on the cap; no cap is shown on SAC 369, SAC 265. 63 has a slightly different headdress, with rounded corners and relief diagonal bands lower down on the cap; the back shows some hanging bands (see Fig. 63). 1138 has a flat headdress 1. Clothes: The typical outfit consists of a sleeveless (?) tunic covering the top of the legs and fastened by a molded or painted belt; the upper part can be black, the section below the belt, sometimes flaring (e.g. 498, SAC 273, SAC 265), is white; on 498 the tunic only covers the front of the legs and wraps around the sides at the back like an apron. On 83, 1138 the tunic has scalloped edges (front only). On some specimen the tunic is hardly visible (1383, 63, 2314); Necklace: Most specimens wear a necklace; this can be bulky, probably meant to represent several rows of small beads (e.g. 498, SAC 273, SAC 265, 283, 63 etc.); on 1606 and 482 the necklace shows a broken-line-and-dot design; 1704 has a narrow band tied below the chin; 273 has a square bag (?) hanging from the necklace on the chest; 481, SAC 369 have no necklace. Ear-plugs: small circular discs worn by 497, SAC 369,63. Manufacture: Most of the figurines are probably mold-made, three figurines are partly—one is wholly—hand-made; most are hollow, with air-holes at the waist (one below), three behind the upper arms; three specimens are solid. The ware is Chancay black-on-white, with the usual variations in colour; 497, 273 and 2200 are only white-slipped. SAC 423 (possibly also SAC 369) is made of red ware (unslipped?). Overall the quality is rather poor. Atypical: 471: Related to Group 4 because of the tunic (note wide painted border with Greek-key motif), and important necklace, but wears a beret decorated with painted squares. Also note the undeformed head, the zoning of the cheeks (with inset design), the rounded shoulders with extended arms starting low down. Mold-made, hollow, airholes below the waist, black-onwhite Chancay ware. Associated: 533, 532, C153: Personages holding a large shield, related to Group 4 because of their twopeak headdress and large painted necklace. All have appliquéd facial features such as circular eyes outlined in black, 532, C153 have large noses with nostrils, black zoning of the elongated mouth, no ears; 533 has a smaller nose, a circular mouth and tears lines. 533, 532 have flat, straight. narrow bodies with extended arms, short, thick separate legs; 533 has a painted genital pattern. Note that 533 holds the shield with the left arm, 532 with the right arm (the shield is also attached to the body lower down). The body of C153 is not visible, but the shied is held in front of the figurine. Both 532 and C153 have the same appliquéd headdress and a painted triangular necklace (also on the back of 532; 533 wears a headdress with shorter peaks and has a bulky neck with some paint, probably also indicating a necklace. The large shields are decorated with diagonal bands (533), lozenges (532), a circular design with ray 1

1138 was included in this group because of its scalloped tunic and bulky headdress. 243

appendages (C153) respectively, the latter both with an upper border decorated with a stepmotif. All three are hand-made, solid, in variants of Chancay black-on-white ware. DISCUSSION

The figurines are identified as attendants because of their resemblance with personages carrying a chieftain on a litter (Lavalle and Lang 1982:55 bottom; Disselhof 1970:90; Anton 1972: no.220). These personages wear the same hat and long tunic, though not the multi-row necklace 1. Their function implies that they are male. Representations on vessels are quite common (see Fig. 64: EMB VA 27969; Fig 65: EMB n/n; Katz 1983:no.89). Fig.65 Fig. 64 There are no obvious antecedents of this type on the Central Coast. Only 83, with its partly incised circular eyes and the pointed protuberances on the head-dress somewhat recalls the late MH “Cats” (see Chapter 7: Late MH sg. 3.1/Pl.30). A small number of figurines (1821/Pl.45/ /Unaffiliated sg.2, 2013, 361/Pl.76/sg.1.6.1A associated) have a headdress with similar protuberances, but they lack the diagonal bands or any of the other Group 4 attributes. A similar headdress, though without the diagonal bands, is also very common on Chimu figurines (see Vol. I, Chimu sg.3.2/Pls. 60, 61), but the Chimu figurines always show females. The Chimu link is interesting because the Chancay culture area may have been under Chimu domination towards the end of the LIP (Rowe 1948:40-41). In this context the figurines may represent the attendants of a Chimu lord? There are no Group 4 figurines before phase 3. It is not clear to what degree the two-cornered hat can be linked with the cranial deformation known as bilobation, quite common during Chancay phases 1 and 2 (see sgs. 1.1 to 1.3). While some Group 4 hats are quite flat, with projections directed laterally (e.g. 498/Pl.91), others have elongated, conical protuberances (e.g. SAC 324/Pl.92). In the Chimu culture the figurines consistently only have small lateral protuberances, whilst the marked bilobation is reserved for personages represented on vessels (Martinez 1986: Part ii, nos. 670682). Here the lobes may be a divine attribute and a gradual accentuation of these lobes is seen as the result of deviations in the original beliefs (Weiss and Rojas Ponce 1967/68:296). Some of the atypical and associated figurines are of particular interest: • 471 wears a beret with a criss-cross decor common in Nasca pottery where it represents a fishing net, sometimes also worn on the head (Lapiner 1975: nos. 511, 515). This headdress is unique amongst Chancay figurines; the rest of the clothing worn by 471 is typical for Group 4. • 533, 532, C153 with some attributes reminiscent of Group 4 (headdress, necklace) carry a large object looking like a shield, but actually too wide for that function; note also that—unlike Moche warrior figurines with shields 2—these specimens carry no offensive weapons. These "shields" or panels are unique to my knowledge, as neither similar objects nor representations on vessels or textiles have come to light; the only similarity is with the back-rest of Chancay litters (cf. the decor on 532 with 602/Pl.119, 1857/Pl. 120). Context: no data. Geographic distribution Chancay Gr. 4 Certain Fairly reliable Unverifiable

Huaura V.

Chancay V.

Ancón

Chillón V.

1 2

4 1

3

Others

Note that on the litters pictured in Disselhof and Anton, the chieftain himself wears the same hat and a necklace with large beads. 2 There is only one Moche figurine with a small shield and a stick in my sample (948/Vol. I, Pl. 34) but such representations are extremely common on Moche whistles and on Moche vessels in general. 1

244

It is puzzling that a larger number of these specimens, made in the typical Chancay ware, should come from the Ancón and even Chillón areas, especially as this figure is also depicted on many typical Chancay vessels. More than anything else, this probably shows that many provenances are at best only fairly reliable. Chronology The are no early Group 4 figurines, the bulk dates to Chancay phase 3. Although several figurines have folded arms (149, SAC 423, 63?, 2200, 2313, 1138,) these are not the typical early folded arms, nor are other early traits present. Only 2200 and 2313 have air-holes behind the upper arms, which could be an early feature 1; in addition 2313 is tricolour, though the tonalities of both the black and the yellowy-white are typical for classic Chancay. However the punctated necklace of 2200 is late (see Chancay 1.6), and 2314, with similar appliquéd bands, has the coarse look which we associate with the late Chancay 6 figurines. So by analogy 2313 is probably also late. Another specimen with folded arms, SAC 423, made of red ware, has the pronounced shoulders which are more common in the Late Horizon: these specimens could date to late phase 3 or phase 4; 1606 featuring a necklace with incised broken-lines-and-multiple-dots decor could also date to phase 4. GROUP 5: CHANCAY PERSONAGE WITH HELMET Table 44 Plate 93 Sample: 6 figurines (examined 5). Measurements: Maximum Minimum Median Height (5) 12.4 cm 9.1 cm 10.0 cm Width (4) 6.6 cm 4.8 cm 5.6 cm Thickness (4) 5.7 cm 2.5 cm 5.5 cm Weight (10) 180 gr. 70 gr. 140 gr. GROUP CHARACTERISTICS

Although the sample is small, there can be no doubt that Group 5 represents a specific personage characterised mainly by its accessories: a headdress which can vary in shape, but which frames the face and is fastened by a chin-strap, and a necklace with a large spherical pendant (one or the other worn by four of the specimens). 603 and 1069 may have an elongated head, 1450 lacks any cranial deformation, C144c and 275 probably have a frontooccipital deformation. The face varies, eyes are circular, with thick molded and/or outlined lids, non-descript nose (except on C144c) and mouth, ears hidden by the headdress; 603 and 1450 have tear-marks. The body is extremely varied: 1069 is standing on short separate legs with protruding feet; the arms are folded upwards, the hands, with incised fingers, hold the rope to which the load at the back is attached; 603 and 1450 are both sitting, with long, thin folded legs; the arms of 603 are resting on the knees, those of 1450 are extended; C144c and 275 have conjoined legs, C 144c with arms extended forwards and upwards, 275 with very short stylized arms extended sideways; genitals, breasts, umbilicus are not indicated, except on 275, probably a with its incised genital triangle. Back: 1069 carries a monkey on his back; 603 shows a thick necklace, 1450 the painted headdress and tunic. Clothing, accessories: Headdress: 1069 and 603 wear a somewhat conical headdress (in two sections on 1069), flattened at the top; 603 has an additional appliquéd semi-circular filet with perforations on the front of the headdress; 1450 has a helmet-like, rounded headdress, C 144c a small cap. On all four the part of the headdress framing the face—like a chin-strap—is decorated with small bobbles. 275 wears a tall headdress with diagonal incisions, possibly representing feathers, also fastened by a chin-strap. 603, 1450 wear a short (painted) tunic. Necklace (?): 603, 1069, 275 wear an unusually thick "string", to which a spherical pendant is attached; 1450 has only a relief band around the neck, no necklace on C 144c. Manufacture: 1069 is hand-made and solid with holes from side to side at the waist; 603 appears mold-made, but with appliquéd arms, and could be hollow because of its weight, but 1

Such an air-hole position could also be late (cf 139/Chancay 2.3/Pl.85, 1223/2.4./Pl.86). 245

lacks air-holes; 1450 is made of two molds, hollow, with lateral air-holes. C 144c could be partly mold-made: no air-holes are visible; 275 is made of one frontal mold and is solid. 1069, 603, 1450 are Chancay black-on-white, C 144c shows traces of a white slip?; 275 is made of a red ware, but with a greyish-black slip and post-fired incrustations of white and red pigment. DISCUSSION

The elongated head-dress of 1069 and 603 and the fact that 1069 carries a monkey may indicate that— like Group 2—this personage is a "foreigner", in this case from the selva. We see the same personage on a double vessel (Lavalle and Lang 1982:74): he carries a dog and a monkey sits on his head. The circular eyes (which can be an early trait) are more likely here to have an ethnic or perhaps mythical connotation. Context: C 144c was found in a workbasket, with two other figurines (see Appendix 3). Geographic distribution: There are two "fairly reliable" provenances: one from Lauri, Chancay (black-on-white), one from Chuquitanta, Chillón (black-slipped); the Lima provenance is unverifiable. Chronology The black-on-white figurines certainly date to phase 3, even though two of them have folded arms. Unfortunately double-chambered vessels are not included in Cornejo's typology, so the occurrence of a Group 5 personage on such a vessel (Lavalle and Lang 1982:74) does not provide a chronological reference. C 144c was found associated with C 144a/Pl. 49 /sg. 1.1.4 and C 144b/Pl.51/sg. 1.2.4, two early Chancay figurines, one of them probably with two sets of arms; however this specimen really does not look early: could the workbasket in which all three were found have contained heirlooms? Finally 275 has late phase 3/phase 4 features: mold-made front with flat back, black-slipped ware with post-fired incrustations (see sg.1.6/Pl.79). CHANCAY GROUP 6: SMALL, CRUDE, HAND-MADE, SOLID FIGURINES (“SPOOKS”) As the name of the group implies, these are extremely disparate small—mostly smaller than 10 cm—figurines, which defy attempts at classification, either by their characteristics or by their provenance, so they have been sub-divided by wares; however the same features (including the size) are present in all three sub-groups, so they will be described together. Table 4 Plates 94-96 Total sample: 45 figurines 1 – examined 41 SUB-GROUP 6.1a,b: BLACK-ON-WHITE AND WHITE-SLIPPED "SPOOKS"

Sample: Sg.6.1a: 10 Figurines; Sg. 6.1b: 19 Figurines SUB-GROUP 6.2: RED WARE

Sample: 10 Figurines

“SPOOKS”

SUB-GROUP 6.3: BLACK WARE “SPOOKS”

Sample: 6 Figurines Measurements (sgs.6.1 to 6.3) Height (34) Width (25) Thickness (36) Weight (7)

Maximum 17.4 cm 11.6 cm 4.9 cm 140 gr.

Minimum

Median

4.9 cm 2.9 cm 1.0 cm 30 gr.

9.2 cm 5.3 cm 2.2 cm 70 gr.

GROUP CHARACTERISTICS

Extremely heterogeneous figurines linked by the following common traits: they are fairly small (over 80% have a height of 10.0 cm. or less, median height 9.2 cm), hand-made and solid 2, standing, with extended arms and a flat profile. Apart from these characteristics, A figurine probably belonging to this group, excavated in the Plaza de los Pelegrinos, Pachacamac (see Shi-b6, Pl.107), has not been included here because of insufficient data. 2 With the exception of 81/Pl. 94/sg.6.1a, which is hollow. 1

246

features differ greatly. The head is mostly large (well over one third of the total height), can also be unusually wide (e.g. 240, 1496/Pl.95). The crown can be rounded (circa 52%) or flattened (circa 35%); four specimens (81/Pl.94, 152/Pl.95, 365, 1374/Pl.96) show some bilobation; two (872/Pl.94, 1489/Pl.95) have an elongated head. In profile the head is generally extremely flat (e.g. 554/Pl.94) and can be straight (70%) or tilted backwards, sometimes even appearing concave (e.g. 1491/Pl.94). The face varies enormously, but is generally stylized in shape and proportions, without any modelling; face-paint—on black-onwhite figurines only (Pl.94)—is mostly patchy: SAC 341 and 1847 show some eye-and-cheek zoning, 554 has a lower cheek decor. The chin: round or oval, sometimes appliquéd together with the mouth, can be strongly jutting (e.g. 1593/Pl.94); absent on about 40%. Eyebrows: only shown on 1593/Pl.94, 1374/Pl.96 (appliquéd). Eyes: mostly appliquéd; can be circular (circa 40%) or even semi-spherical (e.g. 565/Pl.94), rarely with outlined lids (e.g. 833, 163/Pl.96) or "coffee-bean"-shaped, also appliquéd, oval to rectangular (45%), with one, more often two, horizontal incisions indicating the lids (e.g. 452, 1497/Pl.96); a few specimens have elliptic eyes with large eye-balls and narrow lids (e.g. 229, C147c/Pl.95 or 1473/Pl.96, but only 13/Pl.96 has typical Chancay eyes; eyes missing on 699/Pl.95. Nose: mostly rather large. Two different shapes: long and pointed (25%, e.g. 1593, 372/Pl.95, 1374/Pl.96) or thick, angular (38%, e.g. 1583/Pl.95); often missing. Only eight specimens have nostrils, only one (13/Pl.96) has both nostrils and alae. Mouth: Incised (circa 45%, e.g. 81/Pl.94) or appliquéd and incised (circa 25%, e.g. 12/Pl.94), appliquéd only on 372/Pl.94, modelled (e.g. 84/Pl.95); on circa 25% the mouth is broken off or not shown. Ears: Indicated on circa 25%, vary from small, fairly naturalistic (e.g. 13/Pl.96) to very large flaps (e.g. 339, 229/Pl.95); six are perforated. Neck: Mostly indicated, varies from long (e.g. 1380/Pl.95), to practically nonexistent (e.g. 163/Pl.96). The Body is roughly modelled in a great variety of shapes, never life-like. Generally flat in profile. Exceptions: broad: 565/Pl.94, 833/Pl.96; with hump: 1496/Pl.95. The arms are always extended, mostly very short, sometimes no more than lateral protuberances (e.g. 163, 558/Pl.96); 2259/Pl.94 has one arm extended, the other folded, carrying a child. Hands are rarely indicated, either by the widening at the end of the arms (e.g. 1372, 372/Pl.94) or by incised fingers (on eight specimens, e.g. 229/Pl.95). Only 2312/Pl.94 has normally modelled arms and hands; 699/Pl.95 has no arms, only wide shoulders; 14 figurines have one or two broken arms. The legs are generally short stumps, cylindrical or conical, mostly separated, but lacking feet; only 2312, 1491, 1593, 372/Pl.94, 13, 1374, 1473/Pl.96 have slightly longer, cylindrical legs with small feet; 565/Pl.94, 152/PL.95 have no legs, the latter perhaps broken, 385/Pl.95 has large feet only, 12/Pl.94 has incised toes; the legs are broken off on 81/Pl.94, 229, 240/Pl.95, 11, 519?/Pl.96. Traces of painted transversal lines on the legs of 1847, 1491/Pl.94, 1473/Pl.96. Genitals: not indicated on circa 27 %, the rest are female, with an incised genital area which can be triangular (49%, e.g. 12/Pl.94, C153/Pl.96) or rectangular (23 % e.g. 349/Pl.96) and generally also an incised vulva; painted genital triangle on1847/Pl.94; on a few specimens the sex is shown by the vulva only (e.g. 1374/Pl.96). Breasts: Shown on circa 40%, often quite large, appliquéd (e.g. 385/Pl.95, 1374/Pl.96), painted on 1847/Pl.94; broken off on some specimens; small perforations on the nipples on SAC 341, 1491/Pl.94, 1940/Pl.95. Umbilicus: Shown on 40% of figurines, mostly very large, often placed high (e.g. 229/Pl.95). Back: Mostly flat, featureless, except for painted clothing (see below). Clothing, accessories: Headdress: Indicated on about 80 %, either by the shape of the head or by the typical Chancay perforations. Of the 20 figurines with perforations (45%): one figurine has one perforation, five have two, four have three, five have four, a further five are damaged, so the number is not clear; the remaining figurines (55%) have no perforations. 1847/Pl.94 has a painted decorative band (row of dots), 2312/Pl.94 has a "hairnet" painted in front only, 554/Pl.94 several horizontal lines in the front and three pendant triangles at the back, 81/Pl.94 vertical stripes. Clothes: Four figurines (12, 872/Pl.94, 1940/Pl.95, P.11053/Pl.96) wear crossed painted fajas, 554/Pl.94 wears a string vest. 1847/Pl.94 is wrapped in a loosely woven textile (blue, yellow), held together by a belt (pink, mauve, yellow). 2312/Pl.94 wears a

247

molded necklace of spherical beads, attached by a string in the back; 1491/Pl.94 wears circular ear-plugs, decorated with small punctations around a central hole. 2259 carries a child: the left arm is folded over the legs of the child, which has an elongated head and extended arms. The representation is very unusual, in fact unique. Manufacture: All the specimens are hand-made and solid, except 81/Pl.94 which is hollow, with air-holes at the back of the neck. Ten figurines have perforations through the chest or armpits. The wares represented are black-on-white, with the usual variety of shades (sg. 6.1a), a number of specimens with mostly only traces of a white slip on terracotta (sg.6.1b), nine red ware (sg.6.2) and six black ware, reduced-fired specimens (sg. 6.3). Any decor is usually appliquéd or incised, painted only in sg. 6.1a. DISCUSSION

These figurines have been classified as Chancay for the following reasons: a small number of specimens are made of the typical black-on-white ware (sg.6.1a); others show traces of a white slip, some with traces of black design (sg.6.1b), whilst others still, made in red or black ware, have an undeniable Chancay look (13, 1497/sg. 6.2 or 1374 and P.11053 /sg. 6.3). Finally a number also come from the Chancay culture area, including the Chillón valley, but there are no specific features to distinguish between the various sectors (Chancay, Ancón, Chillón). Through linkage we then find that specimens with less clear Chancay traits are also related (see Chronology below). Context At least 12 specimens are known to come from graves or burial grounds. These include 229, 339, 240/sg.6.1b excavated by Reiss and Stübel in Ancón. 872/sg.6.1a, with the unclear inscription "A1, T587[?]", stored amongst the Ancón excavation finds at the MNCP, definitely comes from an Ancón grave. 1593/sg.6.1b, listed at the FMC as "Chancay" probably comes from one of the 127 graves excavated by Dorsey at Ancón (see Appendix 2, Collections). C154 was retrieved from disturbed burials found at a building situated at El Palmo, Marquez, re-utilised as a burial ground after having been abandoned (Luján Dávila, pers. comm; see also Rivas and Lújan 2011). 1491/sg. 6.1a, 1497/6.2 and 1489/sg. 6.1b were excavated by Uhle (or by huaqueros employed by him) at Marquez, Chillón Valley, the two former at Huaca El Palmo, the latter at "a Huaca in the Southern corner". (see Appendix 2/Collections/ UPMP) 1583/sg. 6.1b, excavated by Kroeber at Marquez, is listed under the heading "Various mummies or loose in soil" (Kroeber MS "First Shipment", Jan-June 1925, p.12). However as surface finds are listed separately, it is probable that the figurine, with two bowls and six ears of maize, were the contents of one mummy bundle. 833/sg. 6.2 was found in the surface soil above Horkheimer's Lauri grave 1, located 1.20m below the surface, under a thick layer of sterile sand (Cornejo 1985: Appendix 1, pp.1-2). There is therefore no connection between the object and Lauri grave 1, though it does come from a burial area. The Ancón burial T. 852, (P.11053/6.3) may have been a child burial because—apart from five figurines—it contained miniature vessels and a sling (see Appendix 3, Gravelot of P.11055/sg. 1.2.4). C147c comes from a workbasket (said to be from Pachacamac) and is associated with two other figurines (see below, Chronology). Geographic distribution Sub-group 6.1a,b Certain Fairly reliable Unverifiable Sub-group 6.2 Certain Fairly reliable Unverifiable

Huaura Valley

Chancay Valley

Ancón

Chillón Valley

2

4 1 (or Chancay?) 1

3 4

1 1

1 1

248

Others

1Pachacamac;1 Lima 1 Pachacamac

Sub-group 6.3 Certain Fairly reliable Unverifiable

Huaura Valley

Chancay Valley 1

Ancón

Chillón Valley

1

2 1

Others

Of the 22 certain and fairly reliable provenances five or six are from Chancay, five or six from Ancón and 12 from Chillón, indicating that this group may be an important component of Kroeber’s Sub-Chancay, often found in the Chillón valley. Note that amongst the figurines from the Chancay valley, several are not black-on-white. Chronology Only C147c was found in a workbasket, associated with two other Chancay figurines: one sitting hunchback cuchimilco (C147a/Pl.63/sg.1.4.1B) with extended arms, therefore dating to phase 3, but also with a figurine with elongated head and folded arms (C147b//Pl.80/sg.2.1), which could be earlier; therefore this specimen cannot be used as a reliable chronological marker. So in the absence of datable associated ceramics, a tentative chronology has been established on the basis of iconographic criteria (coffee-bean eyes, short arms with perforations, punctated nipples, large umbilicus) and by "linkage". The characteristic appliquéd coffee-bean eyes, with one or two horizontal incisions—seen here on figurines with obvious Chancay features such as the perforated headdress and extended arms, like 1497 or 1374/Pl.96—also occur on a number of less typical figurines (1372, 12/Pl.94, 339, 240, 1583/Pl.95, 349, 452, 365/Pl.96); appliquéd circular eyes, with or without outlined lids, which can be an early characteristic in the area (see f.i. Huaura Groups 3, 4) are very common in this group (e.g. 565, 372/Pl.94, 385/Pl.95 etc). The headdress perforations can serve as a general guide-line, though only in conjunction with other traits: a rounded headdress with two perforations, fairly close together, is more typical for phase 2 (though if far apart and on a head-dress with a straighter crown they belong to late Chancay, as here on 1374/Pl.96), three perforations are typical for phase 3, four or more perforations for late Chancay (late phase 3 and phase 4). Perforations through the chest or armpits (see 12/Pl.94, 699/Pl.95, 13, 163, 558/Pl.96) occur in late Chancay (1.6.1C) and on LH figurines (see Pls.113-116) The large umbilicus, placed fairly high (1372, 371/Pl.94, 240, 229/Pl.95, 452/Pl.96) is a latish feature (cf. 575/sg. 1.4.3/Pl.69, 574, 1466/sg. 1.6.2B/Pl.78). •

•

•

•

•

1847/Pl.94 has an early headdress border design (row of dots, cf. 231/Chancay 1.1.1 or squares with central dots, as 794, 1079, 1062 in Chancay 1.1.2), but also extended arms and holes through the chest, so it could date to early Phase 3. 81/Pl.94, with a headdress with vertical stripes and air-holes at neck level could also belong to early phase 3. But 12 and 872/Pl.94 with their crossed fajas belong to classic phase 3. Note that 12, has appliquéd "coffee-bean" eyes and an appliquéd mouth and chin, both common for this group. 554/Pl.94, with the lower cheek decor painted inside rectangles, its “string vest” and a headdress with pendant triangles at the back is late phase 3 or phase 4 (cf. sg. 1.4.3: 583/Pl. 68, 1237, 578/Pl.69). This late figurine has circular eyes, and a rectangular, rather than triangular genital pattern, which also occurs on a few other specimens (1372/Pl.94, 1583, 1496, 1380/Pl.95, 349/Pl.96. 1491/Pl.94, with a Chancay head-shape, has the following late features: four headdress perforations, punctated ear-plugs, punctated nipples, associated here with the coffee-bean eyes with double incision. The latter two features are shared by 1940/Pl.95. 1497/Pl.96 also has an overall Chancay shape, as well as coffee-bean eyes and four headdress perforations in sets of two, dating it to late Chancay. This figurine also 249

has a typical profile with a pointed nose and jutting chin. This profile allows to date to late Chancay some less typical figurines, such as 1593 and 372/Pl.94, with traits like circular eyes, which reappear at this late stage on nearly 40% in this group (see also the dating of 554 above). Another usually early trait on 1593 are the long eyebrows, but they can also be late (cf. 246/ sg. 1.6.1B/Pl.76 and 1466/1.6.2B/ Pl.78). Black ware figurines (sg.6.3) in general tend to be late (cf. sgs. 1.6.2, 2.5.2, 3.2.2). Using the same criteria as above, all the figurines probably belong to late phase 3 and phase 4: • 1374 with coffee-bean eyes and two headdress perforations placed wide apart; • 1473 with punctated nipples and a high umbilicus (though note the semi-circular crown with two perforations); • note the characteristic profile of 1473 and 1374, shared by several other figurines. • P.11053, from Ancón 1, T.852, with crossed, incised fajas and short arms, with perforations where they join the body. However note that this figurine is part of a poor but large gravelot (see Appendix 3, Gravelot of P.11055/sg.1.2.4), which also contains a figurine with double arms, probably dating to phase 2 (?), three figurines with extended arms and a miniature vessel with black vertical stripes on a cream background (P.11045), all probably dating to phase 3. To conclude: in spite of a fairly primitive look, the majority of figurines in Group 6 probably belong to the later part of phase 3 and to phase 4, though isolated figurines could be earlier. This is corroborated by the fact that many specimens are part of the Uhle and Kroeber material from Marquez, which—apart from one possibly earlier figurine (1481/sg. 1.6.1)— tend to be late Chancay. Note also that Lilien (1956: Table 25) assigns figurines in this group to her Late Imperial (i.e. Late Horizon) phase. On the other hand Haas (1986) dates 240, 339 and 229 (his nos. 107, 108, 109) to "MH4?", probably because of their “primitive” look and the small sample of this type in the Reiss and Stübel material, whilst Kaulicke assigns 229 to an "indeterminate date" (1983: Abb.64.4). Two similar figurines have been classified as Late MH-Early LIP Unaffiliated Gr.2 (see 1902, 1296/Pl.45) because they have folded arms: they could be predecessors of this group. What was the purpose of such figurines? Can they have been one-off domestic products, toys, magical objects? Or were they made secretly in early post-Conquest times, when it could have been difficult to produce mold-made specimens without attracting the attention of the clergy? CHANCAY GROUP 7: THE ANTHROPOMORPHIC MONKEY Table 46 Plate 97 Sample: 11 Figurines (examined all) Measurements: Maximum Minimum Median Height (7) 15.5 cm 7.5 cm 10.8 cm Width (4) 12.3 cm 5.0 cm 8.7 cm Thickness (6) 10.2 cm 4.0 cm 7.0 cm Weight (2) 460 gr. 180 gr. GROUP CHARACTERISTICS

Although this study does not cover animal figurines, monkeys were included because of their anthropomorphic features. Whilst some characteristics of these figurines, such as a projecting forehead and the undeformed head, sometimes on a relatively thin neck, and a body with a rounded, hump-like back are not specifically simian, a monkey is easily recognizable, at least in some of the specimens (56, 70, 1252 etc.). Others—often quite different—have been included into the group by linkage. The size of the head varies, the crown is rounded (slightly flattened on 1252), a low forehead projects above the eyes (modelled double ridge on 1477); 1339 may have had lugs at the back of the head, now broken. In profile the back of the head shows no sign of cranial 250

deformation. The face, mostly with normal proportions, shows pronounced modelling of the eye-sockets, cheeks, etc; no face-paint, except zoning of the eyes on 56. Chin: Rounded, strongly jutting in profile. Eyebrows: molded on 425. On others "replaced" by the prominent forehead. Eyes: Circular (oval on 571, 425, 1582), with molded lids and eyeballs. Nose: Very small, with nostrils (damaged on several specimens). Mouth: Small, incised or molded. Ears: can be fairly large, conch-like; with large perforations on 517, 70; on 323, 1582, 547 the ears are covered by a band, running across the head and down the sides. Neck: Generally pronounced especially at the back. Body: Varies enormously, from squat, sitting figurines (e.g. 517, 1252), to standing (56, 547, 425). All the specimens, except 1582 and 1472 have a pronounced bulge or an actual hump on their back. 425, 1339 have a modelled spine, jagged on 1339. Arms: folded on the chest:56, 547; mostly extended sideways (many broken), starting very low on 1582, or extended forward on 70, 1252; extended upwards, with prominent elbows on 1339. On 425 the appliquéd arms rest on the waist; hands with incised or molded fingers (1252, 547), large, scoop-like (1339). Legs: The standing 56, 547, 425, have cylindrical, separate legs; 323 shows a minimal separation on very short legs; broken off on 1477, 1472. Some modelling on the folded legs of sitting specimens, no feet (except 1252, with painted toes); only 1339 has the typical long, thin folded legs with incised toes. Genitals: Four females (56, 571, 1582, 425) with raised, outlined or incised genital triangle and vulva. The others lack genitals. Breasts, umbilicus: Not shown. Back: all present a hump (except 1582, 1472), placed at different heights; 56 definitely represents a hunchback, as the thoracic cage is also deformed in front; the hump on 323 could actually be a load; in addition 1339 and 425 have a modelled spine, jagged on 1339; modelling of the waist on 1995. Clothing, accessories: Headdress: it is not clear whether 1252 wears a headdress; a molded net with lateral projections is shown on 425, also at the back. On 323, 1582, 547 a band is placed across the head, hiding the ears. Clothing: 56, 70, 425, have some horizontal stripes painted across the chest and/or legs. 56 and 1252 and have a band painted around the neck, 1252 also around the waist; 547 wears a necklace of large molded beads. Accessories: 1472 may have held a bowl (now broken) in his right hand; 547 holds an elongated tubular object, coming up between its legs, with a bulbous ending (tail? penis?). Manufacture: Six specimens are mold-made, two or three are hand-made, the rest are partly mold- and partly hand-made, but all except 1472 are hollow, with air-holes behind the upper arms (three), at the waist (four), at the waist and ears (two), in the middle of the back (one). Wares vary: variants of Chancay black-on-white ware or only traces of white slip, as well as black on terracotta, one plain purply slip on terracotta (1339), one reduced-fired ware? (1477). DISCUSSION

The monkey has many mythical connotations in Andean lore and is frequently represented on pre-Columbian ceramics or textiles. To this day, at the time of the Renua, a renewal ceremony which takes place in the Altiplano in September-October, young men dress up as monkeys, playing jokes on the public (H. Stobart, personal communication). On the Central Coast monkeys have been linked to the myth of Pachacamac. According to Gutierrez de Santa Clara (1963/1548: 233), Pachacamac, after his victory over Con, turned humanity into monkeys. Another form of the myth, reported by Calvete de la Estrella (in Valcarcel 1964: vol. II, 458), Pachacamac, when creating the world, put the sea into a recipient and entrusted it to a couple. However the couple allowed the sea to spill into its present size. To punish them, Pachacamac turned the man into a monkey and the woman into a fox. According to Menzel (1977:33) “monkeys symbolized fertility, primarily in the context of sexual activity”. It is therefore surprising that the sex of these monkey figurines is either not indicated or that females appear to be represented. It may be that within the funerary context monkeys took on another symbolic meaning. We know that bodies of monkeys were sometimes placed in burials (Sestieri 1971: 103-104). Monkey figurines may also have had a specific function prior to burial: it is noticeable that nearly 60% of figurines have one or both arms broken.

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Special features As mentioned, some specimens were included in this group through linkage. Thus 1582, which to some degree shares the peculiar monkey face with projecting forehead, has traces of a band placed across the head, hiding the ears. A similar feature appears faintly on both 323 and 547. The pronounced spine on 1339 and to a lesser degree on 425 is a rare feature, which otherwise only occurs on 1747, a large standing male (see Chancay sg. 2.4.1/Pl.87): generally the spine, if depicted, is shown as a groove. This feature is not really simian, so some other mythical connotation might be indicated, especially on 1339. 425, the only figurine which also has the prognathic mouth which we would associate with a monkey, wears a curious headdress, in the form of a net, with truncated projections on either side of the head, with their tops decorated with a painted cross. A number of such nets figure in the collections of the Ethnografisches Museum, Berlin, some of them with sticks at the sides to hold them in place, like here (Bjerregaard 2010). Such nets are often depicted on Huaura figurines and on the head of Nasca fishermen shown on vessels, but only two Chancay figurines wear anything that could be interpreted as a net, painted rather than in relief like here (see 471/Gr. 4/Pl.92 and 2312/sg. 6.1/Pl.94). This figurine—and perhaps 1472—may have been holding an object. Context Several figurines probably come from cemeteries (at Ancón, Lauri and Marquez). Geographic distribution Of the eight figurines with certain or fairly reliable provenance, three are from the Chancay Valley, one from Ancón and four from the Chillón valley, which means that the type is fairly evenly distributed. Chronology The group probably covers a long time span. Specimens like 56, 1252 with air-holes behind the upper arms and painted features such as facial zoning and outlined genital triangle (56, with folded arms!), transversal lines across the legs (1252, very faint), date to the end of phase 2 or early phase 3. 1339 with its pointed elbows and “baroque” spine is probably late, as are 1477 and 1472 from the Huaca at the southern corner of Marquez, which has yielded late specimens 1 (cf., 1544/Pl.76/sg.1.6.1A-associated, 1470/Pl.82/sg.2.3, 1475/Pl.91/sg.3.2.1). The one puzzling specimen is 425: it is somehow reminiscent of late MH/early LIP specimens like 1188/Pl.35/Huaura sg. 2.1 and 542/Pl.36/Huaura sg. 2.2, both with lateral projections on their heads and somewhat similar modelling of the facial features. The position of the arms and the air-holes is too unusual for dating purposes, though one early Chancay figurine 2411/Pl.47/sg.1.1.2). has arms placed this way. On the whole the feel is early (Chancay late phase 1 or phase 2?). CHANCAY MOLDS Table 47 Plates 98, 99 Sample: 27 molds: 14 molds are the front and back molds of seven complete figurines; eight are frontal molds only, one is a back mold; two are positive molds; two form a mold matrix. Measurements: The height goes from 35.0 cm to 5.9 cm, with a median size of 13.9 (over 14 molds measure between 11.0 and 18.0 cm). CHARACTERISTICS AND DISCUSSION

The scarcity of molds in the collections is probably due to the fact that they may not have been deposited in the burials, where most of the figurines were found2. Several Chancay 1 2

The exception is 1542/Pl.55/sg.1.3.4 – but the earlier date of this specimen is by no means certain. There is one short study of Chancay molds (Hodnett 1978) 252

Groups are represented: early and classic cuchimilcos (sgs. 1.1, 1.4), figurines with elongated head and folded or extended arms (sgs. 2.1, 2.3), the "Attendant" (Gr.4), the "Personage with Helmet" (Gr.5) and one unaffiliated but probably Chancay-related figurine. Many molds clearly show typical Chancay features: the early semi-circular head with narrow appliquéd band across the headdress (M 12/M 13, M 17), elongated eye-brows (M 30), nipples, raised genital triangle, vulva (e.g. M 25 and others); tupos (P567), bag attached to the forehead by a tump-line and perhaps containing a child (M 15), characteristic for Group 2, the typical attendant outfit (M 6) of Group 4 and the helmet (M 20) of Group 5, etc. The exceptions are: M 28-M29/Pl.98, a small specimen with folded arms, but with an unusual flat headdress with incised border and an incised "skirt"; this may be a LH rather than an early specimen. M 40a,b/Pl.99, a sitting "personage with helmet", with a completely flat and plain helmet; considering the closeness in accession number between this specimen and M 39 (161025 and 16-1028), it may well also have been acquired by Uhle in the Chancay valley. M 39/Pl.99, an unaffiliated sitting specimen with a rounded head, folded arms and the body covered in pustules. This may be the representation of a severe rash or veruga. For a similar rendering of this disease see Cabieses 1974: vol. II, pp.80-82. One other Chancay figurine SAC 218/Pl.48/sg.1.1.3 also shows this disease. The mold was acquired—not excavated—by Uhle, at La Mina, Chancay. Manufacture: The thickness of the molds ranges between 0.5 and 1.6 cm, the variations occurring on various areas of the molds. Their paste varies, but is often medium coarse and from buff to dark terracotta in colour. The outside of the molds is usually plain, often with a burnished surface; some show a thin terracotta-coloured slip, many also a powdery white substance. M 1/Pl. 99 has a face (circular eyes, nostrils, mouth) and a square genital triangle with small vulva roughly incised on the outside of the mold; M 39 has four small hand-like "tabs" with finger-like incisions appliquéd on the outside of the mold (see Pl.99); note also the holes drilled into M 17/Pl.98 to hold together the two broken pieces of the mold. The molds fit together vertically, with the base apparently left open (see M 12-M 13/Pl.98), or possibly closed by a removable stopper? On the complete molds, as well as on the positive molds (MP 8, MP 1) the separating cut between the frontal and the back mold is diagonal, with the back usually narrower than the front, allowing for the prominent facial features and for the flattening of the back of the head. The positive molds are easily recognizable: they are solid and have a deep incision running across the head, along the sides and under the base. The large, solid specimen (M 30/Pl.98), showing very crisp details, but with edges which are not yet trimmed, could be the matrix for a mold; curiously the face is painted red, with a black line along the chin. Context: None Geographic Distribution: There is only one fairly reliable provenance from La Mina, Chancay and a further three Chancay provenances, probably given on the basis of the cultural attribution. M 25a,b, was stored amongst the Ancón 1 material at the MCP, so could be from there; the other provenance from Ancón and one from Pachacamac are unverifiable. Chronology: Most specimens can be dated on stylistic grounds to either Early or Classic Chancay, i.e. late phase 2 to early phase 3 or phase 3. THE CHANCAY FIGURINES : SYNOPSIS

Chancay figurines emerge at the very end of the Middle Horizon and are genetically linked both to the early Huaura figurines and to a pottery style or styles found in the Ancón area at the time. By the time the 3-colour geometric style is established, Chancay figurines—and in particular the cuchimilco—have developed their distinctive shape, with the gradual introduction of extended arms. During the classic phase of the Chancay black-on-white pottery (phase 3) a variety of figurine types become popular in the Chancay valley and in Ancón, as well as variants such as the Chancay-Huaura and Jecuan sub-styles, which may yet turn out to belong to the Huacho style, a late Huaura style phase, suggested by Vallejo (2010) (see above Chapter 8: The relationship between Huaura and Chancay figurines). 253

During phase 3, black-on-white cuchimilcos, and a small proportion of Gr. 2, 3 and 4 figurines are also manufactured in the Chillón valley, but gradually that ware is replaced in the Chillón valley by red or black wares. During phase 4, figurines from these marginal areas acquire features which will become popular in Late Horizon figurines. However, in the Chancay valley itself, it would appear that black-on-white figurines continue to be manufactured during phase 4, albeit in a more “baroque” style. The distribution of the various figurine types is outlined in the Introduction to this chapter. As one analyses the Chancay sample—with its 756 specimens by far the largest of this study—various lines of further enquiry suggest themselves,. One such line would be to identify the distinct personages depicted, in particular the "witch" of Group 3. Another would be to define the political, cultural and above all stylistic relationship with Huaura, the valley as well as the culture. Finally, it would be interesting to determine what influence the Chancay culture, and more particularly its figurines, exercised on the Ychsma "style", as it developed during the LIP—slowly and unremarkably—in the neighbouring Rimac and Lurín valleys. CENTRAL COAST LIP UNAFFILIATED FIGURINES

(PROBABLY CHANCAY-

RELATED)

Listed below are 12 figurines which do not properly fit into any of the Chancay groups, but which—because of their provenance and/or their appearance—are best listed here, geographically and chronologically. The specimens are described separately. Table 48 Plate 100 Sample: 13 Figurines (examined 10) Measurements: Between 32.3 cm and ca 6.0 cm in height, 22.1 cm and 2.6 cm in width, 9.5 cm and 3.0 cm in thickness. CHARACTERISTICS AND DISCUSSION

C145b and C156 both come from workbaskets from the Chillón Valley, now at the EMB1. C145b has a narrow head and body, folded arms, short conjoined legs and an incised genital triangle; the facial features are non-descript, with fairly large elliptic eyes; it wears a rounded cap. We have no data about its manufacture or surface finish, though it appears mold-made. There is no other similar figurine in the Chancay sample, but it was found associated with a double-arms cuchimilco (C145a/sg. 1.2.4/Pl.51). This association of course does not have the chronological strength of a gravelot, as either figurine could have been added to the workbasket at any time. C156 is a small sitting figurine with an elongated head, pronounced but atypical facial features and large hands resting on the folded knees; the genital area is not clearly visible. The figurine wears a coiled turban (the top is damaged), and a necklace of two rows of small incised beads. It bears some resemblance with a figurine from Cajamarquilla (1382/Pl.103 – see Chapter 10). C156 found associated with a small stone figurine, which has strong Chancay similarities (see Fig. 66: EMB VA 25863) and allegedly comes from Chuquitanta, Chillón. The headdress and overall shape is reminiscent of Inca metal figurines. 600, 1920: Undoubtedly Chancay-related (600 also with a fairly Fig. 66 reliable provenance from the Chancay valley) these figurines are very curious. Although the semi-circular crown, and the air-holes through the upper arms (though not behind the upper arms like in Chancay sgs. 1.1.1-1.1.3!) on 600 are early features, others like the crossed fajas, the double waistline incision on 600, the open mouth and the frontal mold, with hand-made back, also on 1920, are classic or late; the arms folded upwards, the white slip on 1920, could be either. Note also the white-on-red ware (600), See contents of the workbaskets in Appendix 3/Gravelots, under Chancay sgs. 1.2.4. and LIP Unaffiliated.

1

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which again could be early, but could also mark the end of the traditional black-on-white ware. On the whole, my feeling is that they are late (Chancay phase 4?) rather than early, also because of a certain resemblance (large semi-circular eye-sockets) with 75, below. 465: with its low, flat crown (with diagonal incisions across the top), the broad face with strong features, diagonally incised hair with central parting at the back, straight-sided body with arms folded above the waist, joined legs (on an oval base), belt, triangular genital pattern, but above all its airholes through the vagina and anus, this figurine would be a candidate for Chimu sg. 3.2 (cf. Vol. I, Pl.61: 108, 915, 934) but it is included here because of its 3-colour ware, unthinkable for a Chimu specimen, and because of its fairly reliable (though not certain!) provenance from Ancón. Could it be a local imitation of a Chimu figurine? 338: Unusual figurine excavated by Reiss and Stübel in Ancón, undoubtedly Chancay-related, definitely not Chimu, as Haas (1986:308) suggests. It may originally have had lugs at the back (top) of the head, an early feature (see also 433, and the atypical 353/Pl.102/Ychsma Gr. 1). But considering the extended arms (now broken off), an LIP 5-8, e.g. Chancay phase 3 date is likely. Haas (1986:309) dates it from LIP 5 to LH, Kaulicke (1983: Abb.64.6) to MH4. 17: Although this figurine has molded Chancay features and a body related to—though not typical of—Chancay (e.g. molded thighs), the unusual headdress-panel covering the ears has a North Coast feel to it. The figurine may come from the area north of the Huaura valley, for which no LIP figurines are known. It dates undoubtedly to the later LIP, phases 6-8, i.e. Chancay phase 3 or 4?. P566: Unique specimen which shares some features with baroque cuchimilcos (Chancay sg. 1.4.3): wide flat angular headline, triangular face with pointed chin, large typical Chancay eyes, small semi-circular ears, angular shoulders, short, thin, extended arms, here unusually with hands turned upwards, thick separate legs, with very large flat feet and triangular toes, incised genital triangle and vulva. The lips appear to be held together with thorns, a feature which is sometimes seen on South Coast, mainly Nasca, trophy heads 1, but the figure obviously does not represent a dead personage. No data regarding the manufacture or airholes, except for the white slip, which occasionally occurs in Chancay (cf. the atypical 1634/Chancay sg. 1.4.1A/Pl.60). The overall look, the four headdress perforations point to late phase 3. 75: This figurine is definitely Chancay-related, with its brown fajas on traces of a white slip and traces of typical Chancay sintering. It is definitely late: molded eyebrows, numerous headdress perforations, double incision at waist. The face appears mold-made, the rest perhaps hand-made, it has no air-holes or visible joins at the sides. Uncertain provenance, but undoubtedly from the Central Coast. Date: Chancay late phase 3 or phase 4. 510: This is undoubtedly a Chancay figurine in its overall shape, but it doesn't belong to any of the known groups: headdress lacking a decorative border or perforations, emphasized eyesockets, oval eyes with molded lids, open mouth, strong nose-to-mouth lines, no face-paint; short extended arms with incised fingers reminiscent of the Jecuan sub-style (cf. Plate 74), completely separate legs, also protruding in the back, punctated nipples, small incised umbilicus (similar to SAC 431/Pl.74), incised genital triangle and vulva with clitoris; the back shows incised hair with central parting; flat profile. Partly mold- partly hand-made (the incised hair), mouth as air-hole, yellowy slip with traces of red paint on the face. Probably phase 4. 1024: This figurine is also clearly Chancay-related (see profile, molded chest), but may come from a marginal area (note the incised nose-to-chin lines and the unusual air-hole between the legs 2). With its double incision at the waist and the unusually large number (24) of headdress perforations, it probably dates to the end of phase 3 (P108/1.6.2 has 16 perforations). A late date may also account for the numerous incisions (fingers, toes etc.) on the molded hands and feet. Mold-made, hollow, air-holes at the sides (below the waist) and between the legs. 1 2

See Seler 1923: Abb. 155-158; Schmidt 1929: 339/1. Not the deeply incised vulva, visible on the picture. 255

371: The elongated head is reminiscent of Chancay Gr. 2, though the general look is very different: in Gr. 2 the headdress is very rarely perforated and other common features, such as the tump-line or the load on the back, are missing. The appliquéd eyebrows are thinner and placed higher than the typical late Chancay eye-brows (see Chancay 1.6.1B); the punctated necklace in “V” is unique; large incised genital triangle and vulva, large umbilicus (or pendant?), vertical incision (spine) in the back. Hand-made, solid. Provenance: Ancón, unverifiable. Date: ? 1084: No other figurine has the tip of its pointed head bent forward, though pointed rather than just elongated heads do occur in Chancay Gr. 2 (cf. various, Pls. 80-85). The molded features and the body shape are reminiscent of Chancay, though the very short, extended (?) arms, with perforations through them, are unusual; the molded hair at the back could be a late feature (cf. Chancay 2.3: 1377/Pl.81, 1135/Pl.83, 486/Pl.84). No provenance. Date: Chancay Phase 3 (late?). 612: This figurine, with a fairly reliable provenance from Pisquillo Chico, Chancay, has obvious Chancay features: extended arms, mold-made with air-holes at waist level, and a bird incised on the chest. But the general aspect of the figurine is so unusual that it could well date to early colonial times. To sum up: Although these figurines best fit into this general region, i.e. the Central Coast, and this time span, i.e. the later LIP, several of them could come from marginal areas, especially to the north, where a Chimu influence could have played a role. Some specimens could be somewhat earlier (early LIP or later LH, early Colonial Period) in date. However unsatisfactory their description and assignment, it was felt that they—like their late MH counterparts in Chapter 8—should not be overlooked.

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CHAPTER 10: FROM THE LATE MIDDLE HORIZON TO THE LATE HORIZON PART II: THE FIGURINES OF THE YCHSMA CERAMIC STYLE INTRODUCTION The Ychsma pottery style is contemporary with the Huaura and Chancay pottery styles in the Rimac and Lurín valleys. Like Huaura and Chancay it has its beginnings at the end of the Middle Horizon, further develops during the LIP, but—unlike classic black-on-white Chancay—also survives into the Late Horizon and beyond. A specific pottery style for the Rimac and Lurín area and dating to the LIP and LH— distinct from styles north of the Chillón valley, such as Huaura and Chancay—had already been identified by Villár Cordoba (1935), who called it (and the señorio or señorios linked with it) "Huancho". F. Bazán, the first to study this ceramic style in-depth, argued that the name Huancho was based on local toponymics, resulting in a misinterpretation of the ethnic distribution in the area and made a good case for renaming the pottery style Ichma. The name Ichma or Ichimay—now Ychsma 1—, often thought to have only applied to the lower Lurín valley, was in fact the name by which the inhabitants of both the lower Rimac and Lurín valleys called themselves at the time of the Conquest (1990:19). The existence of an Ychsma Polity in the Rimac and Lurín valleys, and probably extending to adjacent valleys during the LH, was first postulated by Maria Rostworowski (1972a,b, 1977, 1978, 1989), on the evidence of post-Conquest documents and therefore mainly reflecting the situation during the Late Horizon, showing the Inca administrative divisions. The situation during the LIP is by and large not accounted for, but Marcone (2004:717-718) describes the Ychsma "phenomenon" at that time: "As we understand it, Ychsma 2 is the aggregate of distinct groups or factions living in different areas, by means of a common cultural tradition which may have evolved from the end of the MH and may have been centred on the sanctuary of Pachacamac. In our model, the Peruvian Central Coast becomes the area where various social, cultural and probably political entities, are integrated in the Ychsma culture. But they can only be considered within the specific environments in which they functioned and which they alone could transform" (my translation). The Ychsma polity appears to have consisted of a number of señorios, under a tripartite organisation, linked to the management of the main water resources: one covered the Lurín valley and the señorio of Surco in the lower Rimac valley; a second one comprised the left bank of the Rimac with its center at Maranga; a third one covered the right bank of the Rimac and part of the Chillón valley, with its center at Caraguayllo or Carabayllo (Makowski 2002). However the various boundaries are still very much under discussion. According to Frame et al., (2012: 74) the Ychsma..."made incursions northward to the Chillón Valley...at least at some point in time...the varied [textile] styles that are found at Ancón may indicate permeable, and perhaps fluctuating geographic boundaries between ethnic groups on the Central Coast". To the south, Ychsma influence extended to Chilca and Mala. Until Bazán's (1990) study the views of archaeologists regarding the Late MH to Late Intermediate Period ceramics style or styles in this area differ wildly. To give but a few examples: Stumer (1954c:142) does recognize a Huancho ceramic style in the Rimac valley, Although Ichma, Ichimay etc. still appear in the literature, this is now the accepted spelling (Feldham and Eeckhout 2004: 647) 2 The author speaks of "lo Ychsma", which could be translated as the Ychsma phenomenon, culture, etc 1

257

represented by a crude red ware with occasional white decor, alongside imported Chancay ceramics. A study by Iriarte Brenner (1960) introduces yet other ceramic types under the same name and Bonavía (1965:109) reluctantly also applies the name to LIP ceramics in the lower Lurín valley, though stressing the need for a more rigorous study of the pottery style involved. Somewhat earlier a similar assemblage had been found in surface collections at Puerto Viejo between Chilca and Mala, south of the Lurín valley (Bonavia 1959) and given the site name 1. Lumbreras (1994:191) rather ambiguously includes the area into the Chancay sphere of influence. However, whereas there are ample gradual changes in the ceramic styles of the northern sector of the Central Coast, there are—as yet—not sufficient chronological pointers to clearly distinguish the LIP from the LH in the Rimac/Lurín area (Eekhout 2004: Villacorte 2005: 160ff): the Inca conquest of this region having, by all accounts, been fairly peaceful, there is considerable continuity within the stylistic and iconographic tradition. As Vallejo (2009: 134) correctly states, the problems of the Ychsma pottery style arise in three aspects: in the ceramic corpus, the chronological sequence and the geographic distribution. In the 25 years since Bazán's study much archaeological work has been done in the two main valleys and a number of projects have been elucidating this culture 2, though this is still very much "work in progress". Ychsma has been the object of a symposium, "Arqueología de la Costa Central del Perú en los Períodos Tardíos", published in the Bulletin de l'Institut Français d'Etudes Andines in Lima (2004: no. 33.3), defining the Ychsma style (Feldham and Eeckhout 2004; Vallejo 2004), its spread and development (Angeles and Pozzi-Escot 2004; Makowski and Vega Centeno 2004), as well as other aspects Franco (2004). Tantaléan (2008) reviews the elements—ethnohistory, ceramics, architecture—from which our knowledge of an Ychsma culture can be constructed. More recently Vallejo (2009), has re-examined the chronological and spatial distribution of Ychsma ceramics: his extensive article lists all of the relevant earlier studies. Finally Giraldo and Paredes (2010) review and correlate all the existing Ychsma ceramic sequences. A chronological framework was proposed by Bazán (1990), dividing the Ychsma style into three phases: • Ichma 3 Inicial dating to the late Middle Horizon, with a number of wares (orange with or without slip, pale brown to black on cream, crude brown ware, ware with a thin cream slip, black polished). • Ichma Medio and Fitomorfo, contemporary—in the beginning—with the 3-colour geometric style and spanning the whole of the LIP. This is the type found associated with the so-called “pyramids with ramp” at sites like Pachacamac in the Lurín valley (see Paredes 1988), and Huaquerones and Maranga in the Rimac valley. Wares include brown and cream or black and white on red, brown on cream, etc. Typical of this phase are face-necks like those from Pachacamac illustrated by Strong and Corbett (1943: Fig.12c), Lavallée (1965-1966: Lámina 5a, d) or Bueno (1983:26). • Ichma Tardío which basically carries on with some of the wares of the previous phase, but now associated with Inca ceramics. Daniel Guerrero Z., who was directing the Proyecto Armatambo in 1994 when I visited it, and provided some of the Ychsma figurines in this study, proposed some modifications (pers. com.), to Bazán's chronology (see below). Other chronologies of the style have been proposed over the years by the many archaeologists working on a number of sites with an Yschma component in the Rimac and Lurín Valleys. Eechkhout, in his introduction to the symposium mentioned above, lists these "Puerto Viejo"—as a separate stylistic entity—has survived in the archaeological literature, in spite of clearly being a local form of the Ychsma ceramic style (Vallejo 2009: 138ff). 2 Proyecto Ychsma (Eeckhout and Farfán), Pachacamac Archaeological Project (Shimada and Segura), Proyecto Pueblo Viejo (Makowski), Proyecto Armatambo ( Diaz). 3 Bazán's spelling. 1

258

works and discusses their respective merits (2004: 212ff). More recently the chronology has again been revised and refined by Vallejo (2009): • Ychsma Temprano A, represents the transition between the MH and the LIP and still shows polychrome (tri-colour) decoration, with at least three basic colours: cream or white, red and black as well as variants of these. This phase is best represented at Huallamarca and at the burial ground in front of the Temple of Pachacamac, excavated by Uhle (2009: 150-151), basically Uhle's Gravefield I (see Appendix 2). • Ychsma Temprano B, represents a clear and final break with the late MH. The pictorial decoration all but disappears and is reduced to two colours: cream on the terracotta surface of the object or small black designs, or techniques like burnishing or reducedfiring. Sites: Macatampu, Armatambo (2009: 151-153). • Ychsma Medio A is characterised by the lack of painted decor, now reduced to some crude cream paint or some black on cream; instead there is also punctated and incised decor, whilst • Ychsma Medio B sees the appearance of the more typical black and white decor and vessels such as face-necks, imitation calabashes, or jars with small modelled elements. There is no typical architecture associated with Middle Ychsma, but sites like Armatambo, Huaca San Borja and La Rinconada, both in the eponymous districts of Lima, Mateo Salado in the Magdalena Vieja district of Lima, Mangomarca and Canto Chico in the Lurigancho district, Huaca Santa Catalina in the La Victoria district, Las Palmas in Pachacamac, as well as areas of Cajamarquilla, were probably occupied during this phase. Vallejo does not give specific LIP phases for Middle Ychsma (2009: 154-158). • Ychsma Tardío A is a period of florescence, with new techniques and shapes; reducedfired ceramics are more frequent than in other periods. It is linked with the construction of the pyramids with ramps 1, 2 and 3 at Pachacamac, but also present at Armatambo, Canto Chico, and the Las Palmas sector at Pachacamac. • Ychsma Tardío B dates to the LH: it is often difficult to distinguish from the Regional Inca style (as opposed to the Cuzco style). Vallejo underlines the efforts of Feldham and Eeckhout (2004) to distinguish between the two phases of Ychsma Tardío on the basis of their excavations at the pyramid complex III at Pachacamac, based on stratigraphy and C14 dates, but much remains to be done (2009: 158-160). Note that according to Feltham and Eeckhout (2004: 651) no molds were used before the LH, an assertion which will be discussed below. As we see, Vallejo (2009) does not actually assign his phases to the generally used chronological epochs, with the exception of his first and last phase. Eeckhout (2004: Cuadro 3) attempts to do this, but only gives MH4? for Yschma Temprano A, LIP 7-8 for Ychsma Tardío A, and LH for Ychsma Tardío B, dating the three sub-phases, Ychma Temprano B and Ychsma Medio A, B to LIP 1-6. Eeckhout (2004) and Vallejo (2009) dwell on the problem of the impact of the Inca conquest on the development of Late Yschma pottery, very relevant to this study, as so many figurines in this sample probably date to the LH. Makowski and Vega Centeño (2004) further point out the influence of the ethnic mix—due to movements of populations—on the ceramics of the Late Horizon, along with the survival of pastes and techniques. Comparative Chronology of the Ychsma Ceramic Style (see also Chronological Chart 3) Chronology

Bazán 1991

Daniel Guerrero Eeckhout (2004)

Vallejo 2009

Abbrev.

Late MH

Y. Temprano A

Y. Temprano A

YTemp A

LIP 1-2

Y. Temprano B Y. Medio A Y. Medio B

Y. Temprano B

YTemp B

Y. Medio A

YMed A

Y. Medio B

YMed B

Y. Tardío A

Y. Tardío A

YTard A

Y. Tardío B

Y. Tardío B

YTard B

LIP 3-4 (3-col. geom.)

Ichma Initial

Ychsma 1

LIP 5-6

Ichma Medio

Ychsma 2 Ychsma 3

Ichma Tardío

Ychsma Final

LIP 7-8 LH

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These various chronologies are roughly equivalent, but the material and even the stratigraphy on which they are based is still fairly sketchy. To give but one example: Makowski and Vega note that at Pueblo Viejo-Pucará, Lurín Valley, the LH pottery is very similar to Ychsma Medio pottery. This may be due to cultural continuity, but they also note that, according to Guerrero, burials at Armatambo classified as Ychsma Medio were actually found in LH strata: they were assigned Ychsma Medio, because—being poor assemblages— they did not contain diagnostic LH pottery! (Makowski and Vega Centeno 2004: 700, note 9) Apart from such problems, the difficulties, when trying to classify the figurines which appear to belong to the Ychsma style, are the following: 1) None of the above authors include figurines in their studies, which could be used to establish (mainly chronological) groups: • Bazán mentions altogether five figurines (1990: 73, 76, 110, 120, 125), of which three are fragments; • Feldham and Eeckhout (2004: 658) give a list of six types of ceramic shapes, but figurines are not included; they are only mentioned as "mold-made" under the techniques used (p.650-Cuadro 1). One single figurine mold is illustrated (ibid., fig. 2a). • Vallejo (2009: Figura 11) shows one figurine (2237/Pl.106), but only to illustrate a decorative technique. • A small number of face-necks or effigy vessels are shown (e.g. Bazán 1991: Lám. 3, 4, 29, 30; Feldham and Eeckhout 2004: Figs.10, 14, 33; Vallejo 2009: Figs.1, 2c, 3a,b, 9b, 13a, 15; etc.) but with the exception of one shown by Vallejo (2009: Fig.9b), there is no resemblance between them and any of the figurines in the study sample, which could belong to the Ychsma style. • Apart from these authors, Shimada et al., (2010: Fig.11) have published 22 figurine fragments, excavated at the Plaza de los Pelegrinos at Pachacamac: in theory these should assigned to the Ychsma style, because they come from strata predating the Inca occupation of the site, but on closer inspection this is not the case, as they represent various (local?) traditions. • Thanks to Professor Makowski, I have also been given access to a catalogue of figurines excavated by the Pueblo Viejo Project 1. Note however that at the later site, and others, Ychsma pottery is often found together with non-Ychsma pottery, and it also remains the predominant component of Central Coast assemblages after the Inca occupation. 2) It is difficult to apply the often quite detailed description of wares to the figurines in hand. As pointed out by Feldham and Eeckhout (2004: 646), ware types are often only based on sherds, and colours are often described in a variety of hues, whereas in the present study— alas!—colour and paste descriptions were made in wildly differing light conditions and are at best approximate. Another difficulty—within this same point—is the use of a wide variety of different ware names by different authors for identical wares, as well as the use of an accepted name, but often with slightly different meanings. One example is the "Tricolour geometric ware". Feldham and Eeckhout (2004: 648, note 4) rightly point out that the name is sometimes used for the style defined by Strong (1925 2) in his analysis of Uhle's material from Ancón, "...for a combination of Wari features with local forms (sometimes with four colours) and sometimes for Late Ychma or Inca-associated pottery, which also has many geometric elements in three colours, but has a matt, rather than the slightly burnished surface of the real Tricolor..." (my translation).

Only very few of these, as well as a few others, have been published: see Angeles and Pozzi-Escott 2004, Watson Jimenez 2009, Cordova Palacios 2011, Lopez-Hurtado 2011, Alexandrino Ocaña 2014. 2 Although Strong describes the ware in 1925:158, under Late Ancón I, the name itself appears to have been coined in Strong and Corbett 1943:86. 1

260

Obviously the above quoted studies, in particular Vallejo's 2009 chronology, should be the starting point for a classification of Ychma figurines. It is indeed a vessel excavated by Uhle at Pachacamac and classified by Vallejo as Early Ychsma A (2009: Fig. 9) that has allowed me to put together a fairly large Early Ychsma group of figurines which has not been defined hitherto in the literature (see below Ychsma Group 1). For the later phases—in the absence of published figurines, especially from a documented context—the only possible approach has been to list the specimens from the Rimac and Lurín valleys dating to the LIP and LH by their sites and to see whether any significant common stylistic and iconographic traits emerge. Chancay versus Ychsma Bazán also included the Chillón valley in his Ychsma study, because of the divergence in the views of a number of archaeologists about its cultural affiliation(s). Whilst Kroeber (1926c) and Stumer (1954 a, b) consider the Chillón to be wholly within the Chancay cultural area, Patterson and Lanning (1964:116) state that during the later half of the LIP, the northern sector of the valley “continue their affiliations with Chancay, while the southern end of the valley shared its pottery style with the Rimac valley”. If we consider the early phases of both the Chancay and Ychsma ceramic styles: during Early Ychsma—which Vallejo dates to the early LIP, though it probably starts earlier (see below Ychsma Gr. 1)—, Vallejo (2009: 149f.) sees a very strong influence from Huaura, to the point that he suggests a kind of dependence or a possible religious conflict, arising from the struggle between Vichama, the local deity based in Végueta, Huacho, and Pachacamac. He also speculates on the scenario which brought about the early Chancay style and thinks that similar forces could have been at work in the Ychsma area. During the LIP, according to Bazán (1990:147, 171-172) the pottery styles of the valleys from Chancay to Mala all share some stylistic traits. The Chancay pottery style in particular influences the other areas. But although “significant quantities” of Chancay pottery were found in the Chillón valley, it also has its own pottery style, mainly red-slipped. Except for similarities in the utilitarian ware, the Chillón valley does not show strong links with the neighbouring Rimac valley. In particular it lacks the characteristic Middle Ychsma “brown on cream” and “brown and cream on red” wares. On the whole, the evidence of the figurines from the Chillón valley fits Bazán’s model, but needs some qualifications. During the classic Phase 3 of the Chancay style, typical Chancay black-on-white figurines, mainly cuchimilcos (sub-group 1.4), occur in the Chillón valley, though other types such as figurines with elongated head (Group 2) or the Chancay “witch” (Group 3) are very rare and sub-styles like Chancay-Huaura do not occur at all. The black-onwhite cuchimilcos were certainly produced locally: they show some differences with Chancay valley specimens (see sg. 1.4.1B). Note also that none of the large black-on-white cuchimilcos (sg.1.4.2) come from Chillón. Along with the small cuchimiclos—but probably during the later part of Phase 3 or early Phase 4—Chillón produces a number of red- and blackware cuchimilcos, which, although in a different ware from Chancay black-on-white, are nevertheless iconographically similar to typical Chancay figurines, though we also see significant variants. So in that aspect at least Bazán’s model is not entirely correct. During the Late Horizon the situation changes: in the Huaura and Chancay valleys figurines continue for a while to be produced in black-on-white, though eventually a new style emerges: iconographically the most striking feature is the disappearance of the extended arms, whilst we also see the gradual disappearance of the black-on-white pottery. At a same time a new technique, using one (frontal) mold only, probably spreads from the Ychsma heartland northwards, though iconographically Chancay, especially its rectangular headdress, remains a strong influence further south. According to Bazán “some of the Ychsma ceramic style penetrated into the Chillón during the Inca epoch” (1990:148, my translation). All this reflects a political reality, which is still not thoroughly established. It would appear that during the LIP, the frontier between the Collique polity of the Chillón Valley ran between that valley and the Rimac valley, whilst beyond its northern frontier the polity had good relations with Chancay. But during the LH the Collis were exterminated by the Inca, and

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the Ychsma frontier moved north, to the area of Ancón, whilst the Inca administration incorporated the lower Chillón, Rimac and Lurín into one administrative unit (Cornejo Guerrero 2000: 157-158). THE YCHSMA FIGURINES

Obviously the various studies quoted above, in particular Vallejo's 2009 chronology, should be the starting point for a classification of Ychma figurines. It is indeed the vessel excavated by Uhle at Pachacamac and classified by Vallejo as Early Ychsma A (2009: Fig. 9) that has allowed me to put together a fairly large Early Ychsma group of figurines which has not been defined hitherto in the literature (Ychsma Group 1). For the later phases—and considering the scarcity of published figurines with a documented context—the only possible approach has been to separate the specimens from the Rimac and Lurín valleys, dating to the LIP and LH by their site attribution, "certain, fairly reliable or unverifiable", as used in this study overall, and to see whether any significant common stylistic and iconographic traits emerge. Unfortunately the result is extremely unsatisfactory: a) there are very few specimens from the Rimac and Lurín valleys which can be dated to the LIP, especially to its earlier phases, and those we have certainly do not constitute iconographic/stylistic "groups" 1, such as we have for instance for Huaura or Chancay; b) as for the LH, many figurines are identical to those found during the LH in the Chancay/Ancón/ Chillón areas (see Chapter 11), so again it is difficult to define a specific Ychsma group or groups. A few figurines, said to come from the Rimac and Lurín valleys, obviously belong to the Chancay style and are therefore listed under that culture and not included here. Of these only five specimens have a certain or fairly reliable provenance (three from Maranga, two from the Rimac valley). They, as well as some of the others, may have been imports from the Chancay area. They are: No.

1 2

Plate Chancay

Site

Remarks

1580

50

1.2.2

Maranga ***

Typical Chancay

1026

50

1.2.2

Macatambo**, Rimac

Typical Chancay

820

50

1.2.2

C. Mulerías**, Rimac

Typical Chancay

1828

51

1.2.4

Pachacamac

Doubtful provenance; Chancay-related Ancón sub-style

477

59

1.4.1A

Magdalena near Lima*

No border on headdress, but otherwise typical Chancay

P547

75

1.6.1A

Vicinity of Lima *

Red ware, but otherwise typical Chancay

1437

75

1.6.1A

Pachacamac

Doubtful provenance; red ware, typical Chancay

502

78

1.6.2B

Vicinity of Lima *

Black ware; no headdress border, but typical Chancay

P550 2

78

1.6.2B

Maranga ***

Black ware; Chancay Phase 4 (with LH features)

P553

79

1.6.2C

Maranga **

Black ware; typical Chancay

1832

82

2.3

Vicinity of Lima

Doubtful provenance; typical Chancay

328

90

3.2.1

Pachacamac

Doubtful provenance; red ware, typical Chancay

329

91

3.2.1

Pachacamac

Doubtful provenance; red ware, slightly less typical Chancay

363

95

6.1b

Near Lima *

Red ware, similar to other Chancay Gr. 6 specimens

452

96

6.2

Pachacamac

Doubtful provenance; as above (363/sg.6.1b)

With the exception of Ychsma Group 1. Bazán (1990:74) includes this figurine into his Ichma style. 262

YCHSMA GROUP 1: EARLY YCHSMA FIGURINES Table 49 Plates: 101-102 Sample: 26 Figurines + 5 atypical (examined 27) Measurements Maximum Minimum Median Height (22) 23.8 cm 7.7 cm 17.6 cm Width (17) 14.5 cm 4.3 cm 11.4 cm Thickness (20) 7.6 cm 2.3 cm 6.1 cm Weight (13) 760 gr. 220 gr. 430 gr. GROUP CHARACTERISTICS 1

Fairly homogenous group of medium-sized, standing figurines with a large head on a short body. Within the sub-group one can distinguish two slightly different groupings: • Grouping 1 (1020 to 290): broader, with a lower head and a more rounded lateral body outline; headdress with more rounded corners and a decor of steps, broken lines, dots etc.; coarse modelling of the face; ears with perforations, some with a decor of dots. • Grouping 2 (1480 to 1427): straighter-sided, narrower body; taller (or wider), straighter and more angular headdress, often with a decor of criss-cross lines with central dot or vertical stripes; five figurines with arms lifted to the head; ears lack perforations and are often decorated with parallel lines; decor of parallel lines in the back. However both groupings are similar enough to be described together: The head is large, often about one half of total height, broad; the crown can be slightly rounded (grouping 1) or straight (grouping 2), semi-circular (433, 333/Pl.102), always flattened in profile (fronto-occipital deformation). Face: Broad, often with roughly handcarved features and some modelling of the cheeks and mouth (e.g. 198/Pl.101); often painted red (e.g. 1020, 1480/Pl.101). Traces of irregular tearlines on about 50% of specimens, mostly diagonal and starting from inner corner of the eye (e.g. 423, 290/Pl.101, 333/Pl.102), single or double, 1524/Pl.102 has triple tearlines; painted nose-to-chin lines only 433/Pl.102. Eyebrows: arched, half covered by head-dress (e.g. 1020-198), rare in grouping 2, except on 433. Two types of eyes: a) more common: elliptic/almond shaped, incised, plain (e.g. 1468, 1517/Pl.101), or more commonly with lids outlined in black, white eyeballs and black pupils (e.g. 423, 1808/Pl.101, 433, 1427/Pl.102); b) fairly rare: circular, possibly appliquéd, not painted (e.g. 333, 1715, 1584/Pl.102). Nose: Prominent, rounded (e.g. 1468/Pl.101) or hooked (e.g. 1517/Pl.101), "rectangular" (e.g. 1480/Pl.101, 1584/Pl.102). No nostrils (except on 427/Pl.102) or alae. Mouth: a variety of modelled/incised lips (e.g. 423, 198/Pl.101), more rarely a simple incision (e.g. 1715, 1584/Pl.102). Ears: large, semi-circular; mostly perforated (grouping 1 only); decorated with dots (all grouping 1, except blackware), parallel lines (several in grouping 2); 433 has a design of "cross-and-dots"; rarely plain; no ears (333, 1514) or hidden by hands? (91 2, P569, 1427, 1584/Pl.102). Chin: generally modelled, slightly jutting (e.g. 1468/pl.101) or close to chest (e.g. 505/Pl.101). Neck: clearly indicated at the front and sides, less so in the back . Body: Mostly squat, with a rounded or straight lateral outline, but always tapering towards the feet. In profile straight or slightly bulging at the back. Arms: Can be absent (1020, 423, 1468/Pl.101), painted (six specimens – three folded upwards, three parallel to the waist, e.g. 198, 1808/Pl.101); modelled along the body, folded upwards (three figurines, e.g. 468/Pl.101, 433, 333/Pl.102) or modelled and extended laterally, or slightly forward or raised towards the ears (14 specimens, e.g. 290/Pl.101, 1715, 427/Pl.102): the extended arms are generally short stumps, the raised arms are very thin; hands are only shown on 468/Pl.101. Legs: always completely separated; short, thick, and mostly slightly tapering towards small, flat, circular Features described are not always visible on the photographs. On 91 traces of damage both at the sides of the body and of the head, indicate that the arms, originally lifted to the ears, are now missing.

1 2

263

feet, incised toes on 290/Pl.101 only; no feet: 333; legs broken (P568). Genitals: 15 specimens are female, either only with an explicitly modelled or incised vulva (1020, 1808/Pl.101, 513/Pl.102) or with a raised genital triangle, also often with a large modelled vulva; 505, 1480/pl.101, 1814/Pl.102 have an incised genital triangle and vulva; nine specimens show no genitals, on P568 the lower body is missing: but these specimens are also presumed female because of the similar clothing. Breasts and Umbilicus: never indicated. Back: No features on 1517, 1715 and the blackware 1468, 505; the others show painted features (see below). Clothing, accessories: Headdress: Two basic types: type a-grouping 1: slightly lower, with more rounded corners and a frontal decor such as step design (1020), wide broken lines, with or without filler dots (423, 198, 468, 1517), white dots with black filler (290), no decor (1468, 505: blackware); type b-grouping 2: higher, more angular, decorated with a diagonal crisscross design with central dots (1480, 1614/Pl.101), vertical stripes, in alternating white, outlined in black, on terracotta grounding (1808/Pl.101, 333, P568, 1427, 1715, 427, 91/Pl.102), some with horizontal lines forming squares, many with filler dots (1524, 433, 2383?,); 1584/Pl.102 features a broad central band with diagonal stripes fanning out towards the outer corners 1. Interestingly, at the back of the head both types a and b can have the same design, consisting of large pendant triangles or semi-circles, white, outlined in black, with or without black dots (a: 1020, 198, 468, 290; b: 1614, 1808, C165, 1427), though only type b features parallel horizontal stripes at the back (1480, 1524, 1814, 1584; vertical 91). In addition to types a and b, the head-dress can also be semi-circular (433, 333), with a decor of stripes/squares/dots in the front only (433) or parallel vertical stripes front and back (333). In addition 433 has loops at the back of the head (both broken). 513 wears a low, slightly rounded, plain cap. Nearly all the specimens wear a wide painted collar, decorated with black "commas" (e.g. 1020/Pl.101) or circles with central dot (423, 198, 1517, 290?/Pl.101; 1524, 433, 1427/Pl.102) or with short lines on a white background (468, 1480, 1808/Pl.101). In the back, we can have an extension of this colarette, plain or with a different design (broken line with horizontal line filler (423, 1524) or a central panel with parallel or criss-cross lines (e.g. 198, 1808/Pl.101). Four specimens wear a waist-length tunic (433, P569, 1584/Pl.102 with vertical stripes, 513/Pl.102 with horizontal stripes. Necklace: Shown as three concentric painted lines (427/Pl.102) not visible on photograph. Ear-plugs: Large, circular, with painted cross-and-dot design (433), plain (513/Pl.102), small, appliquéd (427/Pl.102), but the very common painted dots or parallel lines (see above, ears) also suggest ear-plugs. Manufacture: It is often difficult to determine whether these figurines are hand- or moldmade. Lilien (1956: Table 13) considers all the figurines in this group which she examined to be hand-made 2. The figurines in grouping 1 clearly have hand-made faces, with a characteristic rough finish to the facial features (e.g. 198/Pl.101), but this is less obvious in grouping 2, though we see appliquéd eyes (1814, 2383/Pl.102) and incised mouths. As for the body, it could be mold-made, (in some cases with added raised arms), but lateral joins are never visible. All but one specimen are hollow, with air-holes at or behind the shoulders (12) at or behind the neck (seven); three figurines have air-holes at the armpits, one behind the upper arms. The ware is generally a 3-colour epigonal-derived type—though some designs are related to 3-colour geometric—with a pale black and murky cream, occasionally also red or dark red, on an orange or terracotta slip, which often only covers the upper part of the figurine, or on unslipped terracotta. Two figurines are in black ware. Atypical 353 said to come from Pachacamac, shares the shape of the body (with short, wide, extended arms, like 1715, 427), and narrower tubular legs without feet, no genitals; similar facial Not visible on Plate. The figurines have been entered in Table 49 as hand- or mold-made (or a combination of both) according to my original notes, not necessarily correct! 1 2

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features, with appliquéd eyes, white eye-balls outlined in black, black pupils, thick upturned lips, triple parallel tear-lines under each eye, flap ears painted white with black horizontal lines, short tunic with parallel stripes at neck level in the back. The main difference is the narrow, elongated crown of the head, with lugs at the back (though this feature also occurs on 433) and the decor of the tunic, painted white with black parallel and diagonal lines. The figurine could be mold-made, with hand-made facial features; it is hollow, with airholes at the neck; the decor is 3-colour on grey (dirty?) background. 35 – without provenance – shares with 353 the very short rounded arms and the loops at the back of the head, which is however wider; the legs are cylindrical, genitals are not shown. Facial features now damaged. There are traces of vertical stripes on the headdress, a collar or necklace with "comma" decoration, traces of red and black paint possibly indicate a genital triangle. Hand-made?, possibly hollow as there are two holes at the back of the neck; 3-colour decor. 449, said to come from Pachacamac, is attached to a funerary cane litter and with its undeformed head, is related to Wari-Pachacamac figurines (see Early MH Gr.2/Pls. 15, 16) But it shares the circular eyes, modelled arms folded upward, overall body shape, painted collar with black lines and the stripy headdress with this group. It appears mold-made, is hollow, with airholes at the shoulders; the surface decor is very dirty. 424, said to come from Pachacamac, shares the overall shape (short extended arms, tubular legs), and facial features, such as the large appliquéd eyes, with specimens in this group; note the zoning of the face around the eyes, typical on Huaura figurines. The two large projections on the head, each with a central perforation, could be a different rendering of the lugs which appear on 433 and the atypical 315 and 35; the genital triangle is outlined. Probably handmade, hollow, with air-holes at the neck; the ware is 3-colour on a cream background. 1514 retrieved from Gravefield 1 at Pachacamac by Uhle, shares features such as the very specific painted decor of pendant triangles with filler dots on the back of the headdress, as well as a wide horizontal panel with a wavy design below the neck at the back, and the painted arms. But the figurine is completely flat and solid, with a semi-circular head and appliquéd nose and mouth. The lower part of the body is missing. Hand-made, with an orange slip (?) and grey and white decor. DISCUSSION

There can be little doubt that this figurine represents a mythical personage or deity of some standing, since the same personage, but with a Fig. 68 wider, more important headdress than on the Fig. 67 figurines, is also shown on a number of face-necks excavated by Uhle at Gravefield I in Pachacamac (Fig. 67: UPMP 26908; Uhle 1903: Pl.7, fig. 4), by Jimenez Borja at Huallamarca (see Fig. 68: MSHua no.?) and several other fragments from the site, now at MSPuru, including Fig. 69, a personage with the typical Ychsma Gr. 1 collar, carrying a llama), as well as many without provenance (e.g. Fig. 70: MVM G 755). These could simply be seen as representations of a highranking personage. But one vessel from Pachacamac (see Schmidt Fig. 69 1929: 264.2, also Vallejo 2009, Figura 6, upper right), shows the same personage with the body of an animal (bird-like, but with massive feet!), definitely showing a mythical connotation. Note also the elaborate ears on two vessels (Uhle and Schmidt above), which are obviously mythical in Menzel's (1977: 61) sense. Interestingly the peculiar modelling technique used on grouping 1 figurine faces—showing crude, broad strokes—also occurs on some of the face-necks. There are no antecedents of this figurine type at Pachacamac: earlier types (see Early MH sgs. 2.1, 2.2/Pls 15-17/Chapter 5; Transitional Early-Late MH Gr.1/Pl. 18/Chapter 6) are very different in shape and feel.

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Special features, Links with other groups The tear-lines in this group are unusual, often only consisting of a thin diagonal line, starting from the inner corner of the eye 1. Only two figurines, 1524 and the atypical 353, have three parallel tear-lines on each cheek. This feature is generally more common during the MH and early LIP; it is not uncommon in Huaura and early Chancay, but disappears in classic Chancay, except in Chancay sg.2.3. 433 and the atypical 353 and 35, (as well as in Ychsma Gr.2B) have two lugs folded towards the back of the head. These are different from the lugs characteristic for the Chancay witch (Chancay Group 3), which are placed on top of the head. The headdress with vertical stripes on figurines in grouping 2 is similar to that of the roughly contemporary Huaura Group 2 figurines, though only the rather unusual 433/Pl.102 has a stronger Huaura feel (headdress, facial zoning and painted nose-to-chin lines). However its provenance from Pachacamac, the typical Ychsma collar motif and the painted back assign it definitely to this group. The flap ears with parallel stripes (e.g. 1480, 1614/Pl. 101-not visible on photographs), are common in early Huaura (e.g. 660/Pl.31). We have seen that Vallejo (2009: 149f.) sees a very strong Huaura influence in Early Ychsma. A decor of horizontal stripes in the back first occurs during the MH in the South Central Highlands, and also appears on North Coast MH figurines (see Vol. I, Pls. 38, 40) and South Coast Figurines into the LIP (see Vol. III, p.168). 427/Pl.47 wears a series of concentric necklaces which also appear on MH3 South Coast face-necks (e.g. Gayton and Kroeber 1927: Pl.19A). The atypical 1545 is a flat, slab-like specimen, related to Huaura Gr. 4, but with a decor (collar, lines in the back, etc.) typical for this group. Context Although only three figurines from Maranga (P568, P569, 1584) have documented gravelots (see Appendix 3), the majority of the other figurines must also come from graves, at Pachacamac (Uhle's Gravefield I, Bandelier’s excavations), at Huallamarca, etc. (see below). At Maranga one figurine (P568) was found in the burial of a youth—two further similar figurines were found inside the mummy bundle—, another (P569) was associated with one or two infants, the third (1584) with an unrecorded mummy. Geographic distribution: Provenance Certain Fairly reliable Unverifiable

Rimac Valley 6 2

Lurín Valley 6 9 3

The provenances for this group are amongst the best documented of the whole study. They show a very limited distribution area, also confirmed by the related face-necks. The figurines come from three large ceremonial sites, re-used as cemeteries, in the Rimac valley: Maranga, Huallamarca, and Vista Alegre (situated on the left bank of the Rimac, near Puruchuco; its main pyramid is known as Catalina Huanca); and from Pachacamac in the Lurín Valley (see Appendix 2). Chronology There are some contradictory elements to take into consideration. The few gravelots and some of the decorative elements point to MH2B or early MH3, and indeed some of the MH3 ceramics excavated at the Templo Viejo, Pachacamac, show similarities with these figurines (see for instance Franco and Paredes 2000: Fig. 27, middle), but the provenance from Gravefield I at Pachacamac (see Appendix 2) and data from Huallamarca (see below), as Fig. 70 well as some stylistic elements, point to the late Middle Horizon or early Late Intermediate for the majority of specimens. 1

This feature is difficult to see on the photographs. 266

A. Gravelots: P569 from Burial XLII at Huaca III, Maranga (see Appendix 3) is associated with two other similar figurines (not illustrated) and several vessels, only two of which are illustrated (Jijón y Caamaño 1949: figs. 30 and 31). The photographic quality makes identification difficult. No sizes are given. Fig. 30 is a spherical jar with a short conical neck and two vertical strap handles at mid-height. The decor is polychrome, with light and dark red, grey, black and dirty white on an orange background; it shows four birds on the upper half and a step decor below. Jijón compares the ware to "Cajamarquilla" (i.e. Nievería) and assigns the vessel to Kroeber's "Middle Cañete" (from the Cerro de Oro site). These similarities (the one with the Cañete pottery is doubtful) would yield an early MH phase (MH1B, according to Menzel 1964: 33-35). The other vessel (Fig.31) consists of two superimposed spherical jars, with a flaring neck and strap handles, a shape difficult to place chronologically. There is an "octopus" design on the upper half and broken lines with filler dots on the lower body, in cream, black, red, violet on orange. The upper design is not clearly visible on the picture, but sounds like a MH2 design; the lower design is a 3-colour geometric design, dating to MH4 LIP 1-2. In fact Jijón regards the figurine from this burial as Chancay 3-colour, which it definitely is not. P568, from burial XCIV or XCV at Huaca III, Maranga (Jijón y Caamaño 1949: fig.38) looks similar to P569 and is said to have a decoración de triangulos blanca, negra y roja en la espalda (p.312), typical for this group. It is associated with one vessel (not illustrated). According to Jijón y Caamaño (1949: 312-313) both burials belong to construction phase IV of Huaca III at Maranga, which includes 23% of what Jijón considers as Chancay 3-colour geometric. This correlates well with the time span I suggest for this figurine group. 1584, excavated by Kroeber at his Huaca 15 at Maranga/Aramburu (see Appendix 2) is not associated with any vessel (see Gravelot), but Kroeber's catalogue entry (MS, p.20: "with Mummies 15-S-6") suggests that this burial is part of what he calls “Late period burials”. These post-date his Proto-Lima, which includes late EIP (Lima) and early MH (Nievería) strata (Kroeber 1954:33, note 2). 1427, Bandelier's figurine from Pachacamac has no documented context. 2215 is said to come from a late MH-early LIP reutilization of Huallamarca as a cemetery (C. Valladolid, personal communication; see also Willay 39/40:16). As usual the most useful data come from Uhle's excavations at Pachacamac. In the UPMP catalogue Uhle writes: "Nos. 26958-26962 1 are all clay dolls from Gravefield I, except 26961 (my 1614/Pl. 101), probably obtained at San Pedro, Lurín V. and sent to Field Museum”. As far as ascertained Uhle gives no gravelots for the specimens from Gravefield I, possibly because of the disturbed state of the cemetery. The material from this area is called by Uhle “Later Pre-Inca” and dates from MH4 and the LIP (see Menzel 1964:54 and Gravefield I in Appendix 2). Unfortunately it is impossible to say which phases of the LIP are involved: the pottery illustrated by Uhle as “Later Pre-Inca” (1903: Pl.7, figs. 1-9 and Pl. 8) also includes some later LIP specimens (Pl.8, figs 5, 7, 8). B. Stylistic evidence: Some stylistic or technical elements are quite early (see also above "Links"): • the un-outlined white circles with black central dot on the headdress of 290/Pl.101, a feature popular in MH2B (Menzel 1964:61); • parallel lines in the back (early MH, see above); • Face-necks dated to MH 3 (Franco 2004: Fig. 27) show a very similar crudely "hewn" technique in the rendering of the faces. • air-holes at the upper arms or neck tend to be early on the Central Coast (e.g. MH groups, Teatino, Huaura, early Chancay).

1

My numbers 1468, 1517, 1480, 1614/Pl. 101 and 1524/Pl.102. 267

Others elements are later and perhaps fit better into the overall chronology of Gravefield I at Pachacamac : • the use of a four- or three-colour, epigonal-derived ware; • a decor of broken lines with filler-dots, typical for 3-colour geometric ware, seen on a number of Ychsma Group 1 figurines, also occur on a similar Ychsma face-neck and another vessel, both illustrated by Uhle (1903: Pl.7, figs 4 and 5) • the resemblance with Huaura 2 figurines. If we look for a chronological spread within the group itself, we find similar contradictions, because some datable stylistic traits cut across other diagnostic elements such as the introduction of the mold, folded versus extended arms, the position of the air-holes (neck, shoulders, armpits). To give one example: 290/Pl.101, with an early headdress decor of un-outlined white circles with black dots, has extended arms, which is usually a later trait. Grouping 1 could be somewhat earlier than Grouping 2, with the exception of the black ware 505/Pl.101, which could be altogether later (LIP 4, 5?). To sum up: Ychsma Group 1, could start as early as MH2B, considering some of the gravelots and traits shared with early MH figurines (NC and SCH). But if we take into account the data regarding the provenance at Pachacamac—especially the total absence of this type in the “oldest part of Gravefield I” which dates to MH2B—, at Huallamarca and at Maranga, a certain resemblance with Huaura Group 2, as well as the sporadic use of the mold and other diagnostic elements, a late MH-early LIP date is more likely. It therefore fits best into Vallejo's Ychsma Temprano A and indeed he illustrates a similar face-neck as an example of this phase (2009: Figura 9). Note however that Vallejo places this phase entirely in the early LIP, whereas I suggest that some of these figurines probably date to the late MH. On the other hand, the gradual changes (shape of the headdress, extended versus folded arms, etc.) we see in a group which is geographically very compact, may mean that the time span is longer and that some specimens date to Ychsma Temprano B. (= MH4-LIP 2) GROUP 2: LATE INTERMEDIATE AND LATE HORIZON YCHSMA FIGURINES This group contains figurines of the LIP and LH with provenances from the Rimac and Lurín valleys. For both areas, the figurines have been subdivided into two sub-groups: those with certain or fairly reliable provenances, and those with an unverified provenance from the specific valleys: - Sub-group 2.1A: Figurines with certain or fairly reliable provenances from the Rimac valley - Sub-group 2.1B: Figurines with unverified provenances from the Rimac valley - Sub-group 2.2A: Figurines with certain or fairly reliable provenances from the Lurín valley - Sub-group 2.2B: Figurines with unverified provenances from the Lurín valley As stated earlier the approach used in forming this group 1 is inadequate: for the LIP it brings together figurines from these two valleys which obviously do not belonging to other known LIP styles, such as Huaura or Chancay. On the other hand LH figurines with provenances from Rimac and Lurín are included into the Ychsma group, whilst LH figurines without provenances and not belonging to a known culture like Chancay, are listed in the general Late Horizon chapter (chapter 11). An added problem is that many specimens are fragments. As a result this "group" is highly unsatisfactory and although some features can be "isolated" and safely assigned to the late LIP and/or the LH it is difficult to define an—as yet hypothetical—Ychsma figurine style for these periods 2. LH figurines without provenances and not belonging to a known culture like Chancay, are listed in the general Late Horizon chapter (Chapter 11).

The scarcity of figurines from these areas collected by me during my research in the 1980s and early 1990s is surprising, but hardly any figurines have been published since then either! 2 The scarcity of figurines from these areas collected by me during my research in the 1980s and early 1990s is surprising, but hardly any figurines have been published since either! 1

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YCHSMA SUB-GROUP 2.1A : FIGURINES WITH CERTAIN OR FAIRLY RELIABLE PROVENANCES FROM THE RIMAC VALLEY

Table 50 Plates: 103-105 Sample: 46 Figurines or figurine fragments (examined 42) Measurements: Only 19 figurines are complete: the largest of these has a height of 29.5 cm, the smallest 7.3 cm. DESCRIPTION

In the absence of "Group characteristics" the figurines will be described and discussed site by site. The chronology used will be that of Vallejo 2009 (see above). Many of the Rimac Valley sites are mentioned in the study of Villacorta (2005). MARANGA (see Appendix 2: Sites)

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•

P570 shows typical CC-LH features: a square headdress, prominent semi-circular eye-brows, modelled shoulders, arms folded upwards, relatively large breasts, a double incision at the waist and a bulky necklace; it is manufactured with one frontal mold only and has two perforations through the chest. It was excavated by Jijón y Caamaño from a hole (A) at Huaca I, Maranga, which contained four intrusive burials (XII-XV), dug between two platforms carved out in the adobes of the original construction of the huaca (1949: 107). But the figurine is not mentioned in any of the gravelots. Apparently these show a superposition of what the author calls Chancay blanco, negro y rojo, above the classic Chancay black-on-white. Unfortunately it is not clear what Jijón means with his Chancay Tricolor, nor is the stratigraphy clear. The figurine is typical for the LH (YTard B). P571 shows clear Chancay influences in the shape of the headdress and the body, but with folded arms, a necklace, a double incision at the waist. With its perforations through the chest, the headdress and the ears, it is probably also made with one frontal mold, and is said to be solid. Said to come from Grave 35 at Huaca "La Luz", part of Huaca "Pando"(?), it is not clear whether two smaller figurines, hardly visible on a photograph (Ramos de Cox 1971: Lám. IV), come from this grave or from the area in general (O'Phelan 1971:95) 1. (YTard A)

HUACA PUCLLANA or JULIANA, a large adobe pyramid situated in Miraflores, Lima, was an important centre of the Lima Culture, especially during its phases 7 to 9 (L. Lumbreras Jr., personal communication), but re-used as a burial ground in later times, f.i. during the MH; recently some Ychsma burials were also found there. • P573, 2323 were found buried as an offering on a platform of the Huaca. Flores (1981:68) assigns them to the estilo Miraflores. Since this style is described as “a style similar to Chancay...later than the XIIth century...and encompassing the Rimac valley and, less clearly, the Lurín valley” (1981:65, my translation), we can assume that they belong to the Ychsma style. They have some affinity with the Chancay Gr.3 “witch” (prominent cheeks, globular body). 2323 shows late traits: double incision at the waist, clitoris, the ends of the necklace hanging down in the back. 2323 (and probably of P573) is made in a dark red ware with white decor. The specimens probably date to Middle or Late Ychsma 1. (YM B-YTard A) • P574, said by Flores to come from a deposit of ceramic vessels broken on purpose and dating to the Lima and Nieveria styles (1981: 69). This is true for four of the illustrated vessels (Figs. 4-7), but not for Fig. 3 (P574), which is typical for Late Ychsma: thick, arched eye-brows, disk ear-plugs, necklace, breasts, folded arms; it is clearly mold-made, but the ware is not described. The elongated head also appears in Ychsma, but is much less common than in Chancay. Date: YTard B.

1

A further figurine from the site is clearly late Chancay blackware (see P550/Pl.78). 269

or HUACA PAN DE AZUCAR (see Appendix 2: Sites): all the figurines— except 2338, excavated by Clive Valladolid—come from excavations by A. Jimenez Borja, but no information about their context were available at the MSP, where they are stored. • 2215 has a damaged head, showing two tubular projections, a roughly modelled face, with circular appliquéd eyes, outlined in black and with two tear-lines visible under the left eye; the body, broken off at the legs, shows very short extended arms, a painted collar at the front and a Fig. 71 horizontal band across the headdress and the middle of the back. The figurine is probably hand-made, hollow, with air-holes at the neck, the ware is a pale terracotta with black and cream. The strong parallels with some of the Ychsma 1 specimens (modelling of the face and eyes, tear-lines, short extended arms, painted collar, horizontal stripe in the back (cf. 1524, 1715/Pl.102) and even the projections on the head (the atypical 353 and 35/Pl.102) date this piece to the end of Early Ychsma (YTemp B). • 2216: many of the features of 2215 (face, painted collar), as well as the manufacture and ware also occur on this specimen; the unusual headdress—on the elongated head— has a painted decor at the top, (white cross within black circle, see Fig. 71). A somewhat similar design can be seen on Huari Norteño figurines and South/Central Highland figurines 1 of the early Middle Horizon; in addition it has arms lifted to the head, as we see in Ychsma Gr. 1 (cf. 1584, 1427, 513/Pl.102). Dating: YTemp B. • 2218, 2360 are more difficult to date. In the absence of LH features, the rounded headdress and folded arms are reminiscent of early Chancay or Huaura, as is the necklace of large single beads and the air-holes behind the upper arms, both common in Huaura 2. The figurines are mold-made and hollow. Dating: YM A. • 2214 with its extended arms, now broken, probably a rounded headdress and air-holes at the waist is clearly influenced by the Chancay cuchimilco of Chancay Phase 3, though probably the earlier part. Dating: YM A. • 2338 is typical for the Ychsma “Brown on cream” ware, quite common at Armatambo 2 and also at Pachacamac. It also shares the thick eye-brows, the necklace, disk ear-plugs with a decor of small holes placed around a central circle, and the folded arms with other late Ychsma figurines. The typical ware is dated by Guerrero to his phase 3, corresponding to YTard B. • 2345 is the only figurine in Ychsma Group 2.1 without a provenance (it was confiscated by the Museo de la Nación), but was included here because of its clear resemblance with the early 2215 and 2216 at Huallamarca: there are no other even remotely similar figurines, unless we consider the similarities with Ychsma Group 1. The specimen is fascinating, because it is also related to Chancay Group 2, showing women with an elongated head, carrying a bag on their back by means of a tump-line, occasionally containing a child like in this case. The face is very similar to 2215, 2216 and to many specimens in Ychsma Gr. 1, as are the arms raised to the ears and the two lugs on top of the head (cf. P569 to 513, and 433, 353 all on Pl. 102). These two latter features are never found on similar Chancay figurines, nor does 2345 wear tupus, so typical for the Chancay Gr. 2 specimens (see Pls. 81-85). Note that the child also has an elongated head. The specimen is sitting, with legs extended forwards, which in Chancay is an early feature. Dating: YTemp B.

HUALLAMARCA

EL SAUCE, in the Lima district of San Juan de Lurigancho, on the right bank of the Rimac, is

a site, originally comprising a huaca and a cemetery—now practically disappeared—dating to the end of the LIP and the LH (Córdova Herrero 2005). C157, excavated at the site by Juan

See 618/Vol. I, Pl. 38; 1266, South-Central Highlands MH Gr.1, vol. III, p. 165 (described, not illustrated). 2 Unfortunately my photographs of the specimens excavated by D. Guerrero at Armatambo were so bad, that I have had to replace them by drawings, which don't show the typical ware. 1

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Abanto, still shows a clear Chancay influence in the typical high rectangular headdress (here slightly rounded), but with most of the later Ychsma-related characteristics: modelled eyebrows, elaborate necklace, modelled shoulders and breasts, folded arms, double incision at the waist, modelled clitoris, as well as its manufacture: one frontal mold only and perforations at the armpits. Dating: YTard B. PEDREROS, situated on the right bank of the Rimac opposite Cajamarquilla, is a site linked to a collection canal – part of the Huachipa-Nieveria-Carapongo system – and dates mainly to the LIP, followed by a brief Inca occupation. The site was explored by A. Jimenez Borja and a number of finds, including mummy bundles are stored at the MSP. However 2236, now at the Pachacamac Museum, shows the head and upper body of a figurine which lacks any of the LH features. It wears a wide headdress with (probably four) perforations, small circular ear-plugs, and has extended arms (now broken); its is poorly hand-made and solid. Somewhat similar specimens have been "associated" with late Chancay red ware, because they come from Ancón and the Chillón Valley (see 1544, 407, 2013, C155/Pl.76), others have undocumented provenances from the Rimac Valley (see 403, 270/Pl.105). Probable date: YTard A. CAJAMARQUILLA (see Appendix 2: Sites)

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702 is a standing female with a large head and a headdress projecting at the sides and featuring an incised border of broken lines with multiple dot fillers; large elliptic appliquéd eyes, large, curved nose with nostrils, no alae, prognatic mouth and chin area, no ears, no neck. Straight-sided body, broken arms, originally extended, large breasts with punctated nipples, short, separate, conical legs, no feet, protruding abdomen/genital area, long incision to mark vulva; convex featureless back. The figurine is hand-made and hollow, with air-holes at the neck, in a red ware, with three black lines painted across the face. It was excavated in Cajamarquilla by the Italian archaeological mission. According to P. Sestieri, the figurine (1963: fig.32) was found “on top of a tomb, as an offering” (1963: 176), though later Sestieri states that it was found “at the same level" as the stone closing the tomb (1963: 179). The tomb in question is one of a number of bottle-shaped tombs (tombe a bottiglia) which could not be dated due to a lack of decorated ceramics. They contained, amongst other, large utilitarian jars of an unfamiliar type, some pyro-engraved mates, two textiles, which the author considers as belonging to the EIP "Interlocking" style, and some weighing scales (Sestieri 1963: Figs. 28-31). Some of these data (shape of vessels, closure of the tomb by a stone) as well as some "symbolic" burials of children, also found at Cajamarquilla, recall Iriarte's (1960) data about Huancho burial customs. Stylistically the figurine shows a distant Chancay influence (shape and decor of the headdress, extended arms) and no Late Ychsma traits, except for the punctated nipples and the air-holes at the neck, though both these features also occur earlier. A somewhat similar specimen (701), but with some later features, was found at a nearby site (see below). Date: YM B? 704: Small standing female. Broad foreshortened head with rounded crown ending in lateral projections. Bulging and incised circular eyes; prognathic nose and mouth area, with huge nose and small incised mouth; no ears, no neck. Flat body with a protuberance in the middle of the chest; short projecting arms, no hands; separate conical legs, no feet. Incised genital triangle, no vulva, breasts or umbilicus. Flat featureless back. The figurine comes from Sestieri's Cajamarquilla Grave TVI (See Appendix 1, Gravelots). Four vessels from this grave are published by Narváez (2004: 371) and are listed by him as "Ichma": there are over 80 vessels with very similar shapes in Sestieri's Cajamarquilla sample, though I have not seen this shape in other publications relating to the Ychsma style. The figurine is actually related to such early specimens as Nieveria, the Huaura “slabs” (Huaura 4), the raised eyes are also an early feature (cf. 440/Transitional Early-Late MH Gr.1/Pl.17). Although it has no specific Ychsma features it may be related to crude hand-made figurines such as 2237 from Pachacamac dated by Vallejo (2009: p.155, Fig. 11) to YM A.

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A third figurine (Narvaez 2004: 322, bottom), also said to have been excavated by Sestieri at Cajamarquilla) is actually listed at the MSP as coming from Catalina Huanca/Vista Allegre and is part of the Lima/Nieveria Group (cf. 2328/Pl.13). • 1382, allegedly excavated by A. Bandelier in Cajamarquilla in 1893: the very unusual figurine shows a sitting individual—perhaps a man holding his penis—with drawn-up legs and an elongated head. It wears a turban-like headdress, large circular ear-plugs with central hole and a necklace of large spherical beads. The figurine is made of one frontal mold but lacks the typical perforations through the chest. There is another distantly similar figurine in the Central Coast sample (C 156/Pl. 100) from a workbasket from the Chillón valley; also similar are two South Coast Type A LIP-LH figurines (C58, 1426/Vol.III, Pl. 45), also sitting and with a similar headdress, but without the ear-plugs or necklace. Numerous Inca metal figurines also wear a similar tall headdress. The figurine may be an import. Date: LH-Inca style. SAN JUAN DE PARIACHI, on the left bank of the Rimac in the Ate-Vitarte district, is an important residential site, built on a series of terraces, dating to the Inca occupation. It was partly excavated by A. Jimenez Borja. • 2335 could be a specimen imported from Chancay: its extended arms are broken off, it has typical late Chancay features like elongated diagonal eyebrows and a large umbilicus (cf. 247/Pl.76, 1545/Pl.77, 1466, 1467/Pl.78). Interestingly these four comparable specimens all come from Marquéz in the Chillón Valley. Date: Chancay Late Phase 3 or Phase 4?. • 2334, 2331, 2332, 2333 are all typical Late Ychsma Figurines: all made of one frontal mold, 2334 with a perforation below the shoulders, folded arms, double incision at waist; 2331, 2332 with their square headdress, arched eye-brows, disk ear-plugs, 2333 with its headdress with lateral vertical elements, and disk ear-plugs with fringed appendages, typical of the "Diosa de Pachacamac". Date: YTard B. VISTA ALLEGRE (see Appendix 2 : Sites (under Catalina Huanca)

•

1664: Typical Ychsma features: one frontal mold, holes through the shoulders, folded arms, punctated nipples; but missing late features like a bulky necklace, disk earplugs, double incision at the waist; the damaged headdress is higher than usual. Dating: YM B-YTard A?

PURUCHUCO – HUAQUERONES - LA PURUCHUCA, on the left bank of the Rimac, in the Ate district, can be seen as one large complex of Inca sites within close proximity of each other, each with fairly large, probably administrative structures. Puruchuco itself was probably the center of a small curacazgo (Villacorta Ostolaza, 2000, 2003, 2004; Villacorta (Ed.), 2004). • 1110 from Puruchuco, is a typical Ychsma figurine, made of one mold and with a hand indicating folded arms, but the shape of the necklace, like a torque, placed high around the neck, (cf. Shi-b4/Pl.107) and the lack of the double incision at the waist, suggest a date of YTard A. • 703 from the same site, has all the typical LH features: arched eye-brows, disk earplus, bulky necklace, folded arms, double incision at waist: it dates to YTard B. • 2235 from Huaquerones has a flat low headdress with incised and punctated decor and shows incised hair at the back: a similar headdress shape can be seen on 2212, 2213/Pl.104 from Armatambo (see below) dating to YTardB, whilst the face (proportions, eye-brows, incised nose-to-chin lines) and disk ear-plugs are very similar to 2230/Pl.106 from Pachacamac, also dating to YTard B. • 2330 a miniature figurine from La Puruchuca, is easily datable by the typical headdress to YTard B.

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RINCONADA LA MOLINA, was a large Ychsma cemetery, situated on the flanks of the Cerro Puruchuco in proximity the Puruchuco-Huaquerones-La Puruchuca complex, and dating to the LIP and the LH (Diaz and Vallejo 2005). • 701, now at the MSP, was part of a burial from the site. It is very similar to 702 from Cajamarquilla (see above): shape of the head (the headdress shows a similar decor) and body, similar large nose, lack of ears, punctated nipples, incised vulva; the main differences are: the thick appliquéd, incised eye-brows, the treatment of the mouth and chin, with one incised nose-to-chin line, folded arms, incised necklace and belt, small feet and lugs attached to the headdress at the back, the latter feature also occurring on Ychsma Gr.1 figurines (433, 353/Pl.102) and on an Ychsma Gr.2 figurine from Huallamarca (2345/Pl.103). The manufacturing technique and position of the air-holes are also similar to 702, the surface treatment slightly different: 702 has three black lines painted across the terracotta surface, whilst 701 shows traces of a dark brown slip. Because of some later features 701 could be slightly later than 702: YM B -YTard A? ARMATAMBO (see Appendix 2: Sites)

Seven specimens come from D. Guerrero's excavations at the site: • 2005, 2206, have an incised and/or punctated decor as well as diagonal lines from the nose towards the temples; they are both made in one mold, are solid, the ware is plain terracotta. Guerrero dates 2006 to phase 3 (=YTard A), and 2005 to Inca (=YTard B). Interestingly 2205 has a rectangular incision outlining the genital area, a feature also occurring on Chancay Group 6 figurines and possibly late? However the specific incised and/or punctated decorative technique also occurs on 2237/Pl.106 from Pachacamac, which Vallejo (2009: 155, fig.11) considers early: YM A? • 2210 shows some Chancay influence in the overall shape, and wears a necklace with large beads, which can be early (see also 2360/Pl.103, from Huallamarca), but is hand-made and solid, with a terracotta surface and some cream decor; Guerrero (pers. comm.) dates it to the early part of his phase 3, probably contemporary with YM B. • 2208, 2207, 2209: are dated to Guerrero's Ichma phase 3 (=YTardA). Note that all the body fragments have folded arms. Late traits, also found in late Chancay or LH figurines, are: legs joined by a “bridge” at the feet (2007, 2209), a bulky punctated necklace (2208), prominent shoulders and double waist incision (2207); 2209 is possibly mold-made with two molds as it is hollow, the others are made with one mold and solid; all three are in the typical Ychsma “Brown on cream” ware. YTard A. • 2213, 2211, 2212: 2213 from an Inca level (YTard B), has a low headdress and characteristic round Ychsma eyes (cf. Bueno: 1983a:26); both 2211 and 2212 are also dated to Ychsma Final (= YTard B), though 2211 is a surface find and could be slightly earlier. The manufacturing technique varies: one mold, solid (2211), handmade? and solid (2212), hand-made, hollow (2213). YTard B • 1772 – 1778: The most interesting find of all was made at Armatambo (Surco) by huaqueros working for A. Bandelier. Seven figurines were found together. Bandelier, writes in his diary on 19th October 1892 (n.d.: 178)1: “7 figures of human forms, hollow, in black pottery, showing sitting or squatting men with very large earrings, Orejones. These were found, each one in a niche, composed only of three adobes each. Those niches were discovered today and at a depth of about 8 feet, behind a rock, and in front of them the soil was filled with bundles of herbs and with bodies of field rats [guinea-pigs] enveloped in herbs, all much decomposed. Behind those niches, nothing was found, by digging further into the soil. The soil lies on the utmost slope behind the cluster of ruins immediately west of the largest rectangular platform. No human remains were found in the vicinity.” 1 Curiously Hyslop and Mujica (1992) who studied the Bandelier material at the AMNH only list these figurines and illustrate some of them, without mentioning how they were found.

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Fig. 72: Group of figurines excavated at Armatambo by A. Bandelier The seven figurines are sitting. They vary in size from 37.5 cm by ca 28.0 cm to 21.3 cm by 11.5 cm. Three specimens (probably four, but one head is missing) have large headdresses in the shape of an inverted trapeze, three further figurines have an elongated head with a plain cap (or no covering?); flat profile showing marked fronto-occipital deformation. The faces are fairly similar: prominent curved eye-brows, circular eyes (slightly more elongated on 1178) with molded lids; a large pointed nose on the larger specimens (with punctated nostrils on 1772 only, no alae), shorter nose on the smaller figurines; mouth with molded lips and incised teeth (1172), molded lips (1778), on all the others small oval hole only; ears are hidden by ear-plugs, small pointed chin; neck covered by necklace. The body is wide and squat with a rounded outline (1772, 1773), ovoid (1774-1778). 1772, 1773, 1778 have arms folded horizontally at the waist and hands with incised fingers, the others show only fin-like hands with incised fingers, protruding above or at waist level; legs are thin, folded, ending in paw-like feet with incised toes. Only 1772, 1773 have breasts, the later punctated, all have an incised genital triangle (often placed unusually high), with a double incision at the waist (single incision on 1777?) and an incised vulva, showing the clitoris on 1772, 1773, 1778; 1772, 1773 have an umbilicus, the others show a shallow depression above the genital triangle. The profile is markedly rotund; the base is oval (1772, 1773) or circular (17741778). The back shows the ear-plugs, the necklace, with elaborate hanging ties (1772, 1773), the necklace only (1774), a groove down the middle of the back (1775, 1777, 1778), no features (1776). Clothing, accessories: Only 1772 shows an elaborate headdress border placed at the upper edge of the headdress, with a decor of broken lines and horizontal lines fillers; the others are plain. All wear bulky necklaces though the decor varies (see Fig.71); 1776 with an eroded surface, has a decor of broken lines but the fillers—if any—are not visible; 1777, equally eroded, only shows a slight bulkiness in the necklace area; the large specimens have very elaborate "ties" hanging down the back from their necklaces (four on 1772, six on 1773).

1172, 1773

1774

1775

1778

Fig. 73: Necklaces of Bandelier's Armatambo Figurines All the specimens (except 1773: head missing) wear circular ear-plugs (the "plug" in the back is not always shown), placed either at the normal ear-height (1772, 1774, 1776, 1777) or much lower, near the neck (1775, 1778); note that one ear-plug is missing on five specimens! The ear-plugs are concave, with a raised central pellet, surrounded by smaller pellets on 1772, but plain on the others, except on 1778, which has a flat ear-plug, decorated with punctations. The figurines are hand-made and hollow, with airholes at the neck (two), through the mouth (four), the top of the head (one). The ware is reduced fired, mostly with a self-slipped

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surface and post-fired incrustations in white and red (except on 1776, 1777). The latter, as well as 1778, have eroded surfaces. The location inside individual niches and the offerings found in association obviously points to a shrine. There are several curious aspects to this group: • Although Bandelier talks of men, of Orejones, all the figures show the double incision at waist level, part of the genital triangle, and all have some indication of the vulva, although it is sometimes placed very high (1774 to 1778). So they are all females. Their elaborate adornments are in keeping with other Late Horizon female figurines (cf. P583/Pl.106 from Pachacamac). • The difference in size of the seven figures could suggest a family group, with the larger figures representing adults, the smaller infants or adolescents 1. But the absence of males makes such an interpretation less likely. Besides: • Not all of the smaller specimens are similar: three of them have the cranial deformation resulting in an elongated head which, as we have seen (Chancay Group 2), is typical for the Sierra. In the Chancay culture this feature occurs on figures which are mostly identified as adults, because they carry children—some also with elongated heads—or loads on their backs. So it not certain that the smaller Armatambo figures depict children. Perhaps they are personages from the Sierra? All this leads me to believe that the shrine grouped several deities or huacas, local as well as foreign, and of different hierarchical status. Sacrifices of guinea pigs and plants, perhaps also of chicha and other offerings which have left no trace, were made at the shrine. This is the only instance were such an interpretation of the function of figurines can be made with a fair degree of plausibility. Stylistically the figurines clearly show a Chancay influence (f.i. in the shape of the headdress or heads, decor of the headband or necklaces, the outline of the genital triangle), though there are notable changes such as the folded arms, the inverted trapeze shape of the headdresses and the headband (on 1772) placed at the upper edge of the headdress, without any of the typical holes (cf. the blackware P550/Pl. 78, excavated in Maranga, still classic Chancay in all these aspects). Technically the black ware with white and red incrustations also occurs in Chancay, though possibly inspired by a much earlier tradition in the Ancón area (cf. Chancay sg. 1.6.2c/Pl. 79 and text). Chronologically the group, with diagnostic features such as the large eye-brows, bulky necklaces, punctated nipples, clearly belongs to YTar B. Two further figurines were excavated by Bandelier at Surco/Armatambo: • 1771: This large standing figurine shows some similarities with the figurines from the shrine, but the large headdress is square (not trapezoid) and lower, with no headband, flat in profile; the face is damaged, leaving only the circular eyes with molded lids, the nose and mouth are broken off, possibly also the eye-brows. Wide emphasized shoulders, appliquéd arms, also visible in the back, folded upwards on the chest, with round hands and incised fingers; cylindrical separate legs, feet indicated by incised toes; breasts with punctated nipples, incised genital triangle, placed low, with double incision at top and a depression for the vulva, with an appliquéd blob (clitoris?), large umbilicus. Rotund profile. The bulky necklace shown also in the back, has a decor of broken lines and circles and three "strings" hanging in the back. The (one) large disk ear-plug, with the "plug" shown in the back, has a damaged surface. The figurine is hand-made, hollow, with two air-holes through the nipples, the surface is pale terracotta with traces of a yellowy-white slip. Date: YTard B. • 1436: is a head, broken off at the neck, of what must have been a figurine measuring at least 30 cm in height. The straight-sided face ending in an oval chin, has large "undercut" semi-circular eye-brows, almond-shaped eyes with molded lids, a curvy mouth with molded upper and lower lips, incised nose-to-chin lines; the nose is damaged, the 1

A family of figurines found in a burial in Ica is described by Menzel (1967:15-38). See also Vol. III, pp.88 ff. 275

ears are hidden by thick circular ear-plugs, with a raised edge. The high, near rectangular headdress, shows a headband with two rows of elaborate designs (Fig.74). The solid head is made of one frontal mold; the coarse terracotta ware shows traces of a cream slip. All the features described above date this head to YTard B. YCHSMA SUB-GROUP 2.1B : FIGURINES WITH UNDOCUMENTED PROVENANCES FROM THE RIMAC VALLEY

Table 50 Plate: 105 Sample: 14 Figurines or figurine fragments (examined all) Measurements: The 11 whole figurines measure between 25.0 cm and 9.1 cm in height (with six figurines higher than 20 cm.), 10.7 cm and 4.4 cm in width and 6.3 cm and 2.0 cm in thickness; the weight is between 770 gr. and 50 gr. The figurines are described individually: • 1454: The slab-like figurine has a semi-circular head, with small circular incised eyes, a large damaged nose, no mouth, no ears, no neck; short rounded extended arms, legs missing, square incised genital pattern with vulva; featureless, flat back; necklace of large incised rectangular beads hanging to mid-chest. The figurine is hand-made, solid with holes through the arms, the ware is dark terracotta. The specimen is said to come from “ruins of Pre-Inca dwellings and graves near Chosica in the Rimac valley” and was found with the mummy of a child and stone, wood and bone implements, textiles, gourds, shell beads, etc. Like 704 above, excavated in Cajamarquilla, it is distantly related to Nieveria figurines (see Pl. 13), to Huaura “slabs” (see Pl. 42), which tend to be early, but also, because of its a rectangular genital area, to some Chancay 6 figurines, where some specimens share this feature, as well as being flat and having perforations through the arms or chest (see Pls. 95, 96). The figurine may belong to the same Ychsma tradition as 2237, excavated at Pachacamac and dated to YM A by Vallejo (2009: 155, Fig.11). • 1434: Unusual figurine: rounded headdress (the edge damaged, trace of one perforation) with narrow relief border above the forehead, flat profile, face damaged: circular eyes, nose broken off, small mouth, large semi-circular left ear with perforation. Extended arms (damaged?), conjoined legs, broken off? slightly raised genital area, umbilicus. Bulky protrusion on chest may indicate a necklace? Flat back, with traces of white painted lines. Hand-made, solid: the holes below the waist go from side to side, terracotta ware with traces of white. YTard A. • 403: Figurine with high headdress widening at the sides. Small triangular face, indistinct features (damaged). Narrow, straight sided body with two sets of arms, one folded above the waist, the other, extended broken off; conjoined legs; slightly raised genital triangle; no breasts or umbilicus. Featureless, straight back. Bulky necklace. Mold-made, solid, terracotta ware. The shape of the headdress and of the body, as well as the crude manufacture, is reminiscent of late Chancay (Associated ) figurines from Marquéz (cf.2013/Pl.76/ Fig. 74 Chancay sg. 1/6/1A). YTard A. • 270: Figurine wearing a very high headdress with two perforations, flat profile; the prognatic face has indistinct features; narrow body with extended arms now broken, modelled abdomen/genital area, short separate legs, no feet; slightly convex upper back, waist indicated. Circular depression on either side of the head could represent ear-plugs. Hand-made (face mold-made?), crude, solid, reduced fired? Like above (403), reminiscent of late Chancay figurines from Marquez (cf: 407, 2013/ Pl. 76/Chancay sg.1.6.1A) have the same high ear-plugs and very sketchy body. YTar A. • 317: Typical non-descript late Central Coast figurine: the rounded head is slightly damaged at the top, the large features show nearly circular eyes with molded lids, a 276

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•

•

•

•

•

•

damaged nose with nostrils, non-descript mouth, nose-to-chin-lines, rounded ears; short neck, rounded shoulders with folded arms and incised fingers, incised genital triangle and vulva, conjoined legs broken off; plain back. Narrow incised necklace. Made of one mold, with holes through the chest, grey, reduced-fired surface. Said to come from Santa Clara, a small tributary valley of the Rimac (site not located). Chancay influence, but lacks some of the typical late features. YTar A. 1378: Very unusual narrow figurine, in very bad condition. Small rounded cap, facial features show large eyes, probably under arched eye-brows; narrow body with molded shoulders and arms folded upwards on the chest, incised genital triangle (no vulva), separate legs now damaged. The headdress shows incised "broken lines". The figurine is solid, but it is not clear whether it is hand- or mold-made. The colour has not been recorded. It is part of a large gravelot (see Appendix 3). YTar A-B? 404: Small figurine wearing a flat headdress, with incised lozenge decor and molded borders; circular eyes, damaged nose, prognatic mouth with molded lips, large disk ear-plugs. Narrow shoulders, arms folded upwards on chest, large hands, incised fingers, breasts, molded genital area with double lines at waist, vulva, conjoined legs, no feet. Necklace of two plain bands. Made of one mold, solid, with perforations through the breasts, traces of yellowy-white slip. YTar B? 1831: Figurine with pointed head, no headdress?, two perforations; large features: oval eyes with molded lids, pointed nose with nostrils, open mouth with molded lips, nose-to-chin lines and incised channel between nose and mouth!, narrow rectangular ears with small incision at the top, rounded chin. Modelled shoulders, arms folded horizontally above waist, hands with incised fingers, small breasts, incised genital triangle and vulva, narrow umbilicus, conjoined legs, small feet with incised toes. Made of one mold, solid, with perforations through the chest (high), thin pale brown slip. YTar A-B?. 1835: Figurine with a very high square headdress with four perforations; typical Ychsma face with arched eye-brows, large near circular eyes with molded lids, repaired nose with nostrils, curvy open mouth with molded lips, life-like ears, neck. Modelled shoulders, arms folded upwards on chest, large hands with five incisions, i.e. six fingers, small breasts, incised genital triangle (double incision at waist) and vulva, narrow umbilicus, conjoined legs, small feet going up at the back, incised toes. Necklace with broken-line-and-dot decor. Very flat profile. Made of one mold, solid, with perforations through the shoulders, terracotta ware, self-slip? YTar A-B? 1830: Figurine with square headdress, slightly less high than 1835, no perforations. No eye-brows, large lenticular eyes with molded lids, pointed nose with nostrils and alae, curvy open mouth with molded lips, nose-to-chin lines, life-like ears, neck. Modelled shoulders, arms folded upwards on chest, large hands with five incisions, i.e. six fingers, no breasts, incised genital triangle (single incision at waist) and vulva, showing clitoris, small umbilicus, conjoined legs, small feet with incised toes. Flat profile. Necklace with two rows of punctations, circular ear-plugs with punctations. YTar A-B? 347: Figurine with square headdress like 1830 (above), but slightly flattened at the top (in profile). Facial features as 1835 (above), though with eye-brows meeting at the nose, semi-circular concave ears. Similar body, but with longer arms, breasts and double incision at waist, narrow umbilicus. Slightly broader profile, shallow groove from the neck and down the middle at the back. Necklace with broken-line-and-dot decor. Made of two molds, hollow, with a total of 14 airholes; terracotta ware with yellowy-white slip. YTar A-B? 419: Slightly different, with reverse trapezoidal headdress and shorter legs, the other features similar, nose with nostrils and alae, no umbilicus. Necklace of two strands, decor unclear. Made of two molds as 347 above, with the same number of airholes

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(14)! and the same traces of yellowy-white slip and black (sintered) paint. There is some slippage of the back mold. YTar A-B? • 466, 343: Slightly different style than 1831 to 419, though obviously related. Reverse trapezoidal headdress with traces of molded decor on 466 only, and a molded edge low on the forehead (like 404, above); almond shaped eyes with molded lids, long, turned-up nose with nostrils, molded lips, ears hidden by plain disk ear-plugs. Long, narrow straight-sided body, arms folded horizontally above waist, with square hands and four fingers; breasts, small genital triangle placed low, with double incision at waist, incised vulva (343), marked clitoris (466), much shorter conjoined legs, small feet going up at the back, incised toes. Necklace: one broad strand with small impressed circles (466), hidden by a necklace of oblong shell (?) and copper beads and a white and brown plaited braid (343). Very narrow profile. One frontal mold, solid, no holes; terracotta ware with thin yellowy to cream slip. YTar B. DISCUSSION (SUB-GROUPS 2.1A AND 2.1B) The 60 figurines (nearly half of them fragments) in Sg. 2.1 have been listed together because of their certain or alleged provenance from the Rimac Valley – in an (artificial) attempt to isolate and define an Ychsma figurine style and its chronological phases. The Ychsma chronological phases have been quite well established on the basis of burial patterns. According to Diaz and Vallejo (2005: 237ff), these appear to follow late MH practices as seen at Ancón—in a break with the local practices derived from the Lima culture—and subsequently conforming to well-defined changing burial patterns throughout the phases, including the LH. Their study is based on 221 gravelots from Armatambo and 105 from La Rinconada (ibid: 297). Unfortunately ceramic offerings are not numerous: 27 gravelots from Armatambo, dating from YMed A to YTard B and described in some detail yielded 97 ceramic vessels, whilst four gravelots from La Rinconada produced 10. And none of them contained a figurine! This seems to confirm the fact that very few figurines were produced in the Rimac and Lurín area throughout the ages—with the possibly exception of the Epiformative. This is very obvious when we compare this area with the valleys to the immediate north (Chancay, Huaura, Supe) and even more so with the North or South Coast. Previously I had assumed that this scarcity was due to the fact that many archaeological remains were destroyed in the densely populated Rimac valley. But the evidence of the numerous untouched Ychsma gravelots proves that figurines were not an important grave good. Sub-group 2.1 is an extremely disparate group. A fairly strong Chancay influence is obvious in the overall shape of a number of specimens and in features such as a) the high headdress (f.i. C157/Pl.103), which then carries on into LH figurines (e.g. 1835, 1830, etc./Pl. 105) or in more trapezoidal headdress shapes, but with decorated head-band (f.i. 702/Pl.103, 1772/Pl.104); b) extended arms on fairly early specimens (2214, 2236, 702, 704/Pl.103, 1434, 270/Pl.105). But there are only eight specimens with an elongated head, a type very common in Chancay, and only one of them (2345/Pl.103 1) with the typical features usually found on Chancay Gr. 2 figurines, e.g. a child or a bag carried on its back by means of a thump line. A Huaura influence is visible on 2360/Pl.103 and 2210/Pl.104, both early specimens, in the necklace of large, separate round beads, though 1382/Pl. 103, dating to the LH, also wears a similar necklace. Specific Ychsma features 2 are: For earlier Ychsma (YM A, B?): an incised and punctated decor (2005, 2006/Pl.104 from Armatambo), according to Vallejo (2009), though these specimens are dated later by Guerrero (pers. comm.). For late Ychsma (YTard A, B): 2345 has no provenance, but is listed with the Huallamarca sample because of its overall resemblance with specimens from that site. 2 More – and better - examples can be seen on figurines from the Lurín Valley (Pl. 106). 1

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a. Features which are nearly always present: Large, bulky arched eye-brows, large eyes, round or almond-shaped, with molded eye-lids, molded lips; straight-sided body, often with emphasized shoulders, folded arms with molded hands, incised genital triangle and vulva, conjoined legs with small or non-existing feet; headdress, bulky necklace (see below). b. Variable features—possibly a chronological marker: Ears: absent (2360. 702/Pl.103), plain P570, C157/Pl.103), with circular ear-plugs, placed at various heights (cf. 1776/Pl.104 with 1778/Pl.105!); ear-plugs can be plain (2231/Pl.103), embossed (P574/Pl.103), some with "appendages" (2333/Pl.103). Incised nose-to-chin lines (2235/Pl.104). Presence or absence of breasts, sometimes with punctated nipples. Position of folded arms: horizontally above the waist or upwards on the chest (cf 347 with 466/Pl.105. Headdress: a) high, featureless (e.g. P570/Pl.103), b) high, with or without lateral vertical elements, but always with decorated cap (e.g.2333/Pl. 103), c) low cap, with painted or incised decor (2213, 2235/Pl.104). Necklace: always present, mostly bulky, with varying decor. Possibly earlier (YTar A) when placed very high around the neck (e.g. 1110, 2208/Pl.104), later when placed on chest (1772/Pl.104). Chronology : The figurines have been dated individually and tentatively: YTemp B 3 (5%)

YM A 8 (13.3%)

YM B YM B – YTard A? YTard A YTard A – YTard B? YTard B 2 (3.3%) 4 (6.6%) 10 (16.6%) 6 (10%) 25 (41.6%)

One specimen is probably Chancay and one Inca. YCHSMA SUB-GROUP 2.2A : FIGURINES WITH A CERTAIN OR FAIRLY RELIABLE PROVENANCES FROM THE LURÍN VALLEY

The sub-group dealing with Ychsma figurines from the Lurín valley includes several different components: a. Miscellaneous figurines excavated at Pachacamac; b. Figurines excavated at the Plaza de los Pelegrinos, Pachacamac, by the Pachacamac Archaeological Project (PAP) under Prof. Shimada (Shimada et al., 2004, 2010); c. Figurines excavated in Pueblo Viejo-Pucará by the PALP under Prof. Makowski, since 1999. d. Figurines excavated from other sites in the Lurín valley. Difficulties arise when dealing with the samples b and c because these include a large number of figurines (mainly fragments) which do not belong to the Ychsma ceramic style. After some deliberation, it was thought best to present the smaller Plaza de los Pelegrinos sample as a whole, pointing out the few likely Ychsma specimens, whereas the figurines from Pueblo Viejo are subdivided into Ychsma figurines and "Associated" non-Ychsma figurines. a. MISCELLANOUS FIGURINES FROM PACHACAMAC (see Appendix 2) After finishing this chapter, I was able to view the newly available Museo de Sitio de Pachacamac (MP) on-line catalogue. Of the 46 figurines and molds listed there—mostly fragments and including six Moche Silvadores!—I had already recorded 16. I have now added another four (C161-C164), the remaining figurines being either quite similar to recorded specimens, or the photographs too small to be of use here. Regrettably also there are no data of the exact provenance of the individual items: not all of them actually come from Pachacamac: two specimens previously recorded by me at the MP come from the Rimac Valley. Table 51 Plate: 106 Sample: 29 figurines: 7 complete or near complete figurines + 22 fragments (examined 20).

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Measurements: The largest complete figurine measures 13.8 cm, though others—to judge by the size of their heads (e.g. 1750) must have been much larger. DESCRIPTION

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1424, 1425: Two miniature figurines, the top of 1424 is broken off: the headdress could have been similar to 1425, showing a crown of feathers (?); both have large circular eyes, a small nose and mouth, nose-to-chin lines on 1424, semi-circular ears. Narrow body, arms folded above waist, conjoined legs tapering upwards at the back, no breasts, genitals or umbilicus. 1424 wears disk ear-plugs. Made of one frontal mold, solid, with two holes near the ears (1424), through the shoulders (1425), brown with traces of white paint? Excavated by A. Bandelier. Inca?

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1479: Body fragment with wide shoulders, arms folded upwards, hands with four fingers, no breasts or umbilicus, incised genital triangle and vulva, with another incision above the waist—not the typical double incision—, conjoined legs, incised toes, plain straight back. A line below the neck may indicate a necklace (now broken off). One mold, solid, black ware. Excavated by Uhle from his "Gravefield 1" at Pachacamac, where most figurines date to the late MH and early LIP, but this specimen definitely dates to the late LIP or LH. YTard A-B?. 1509: One-off figurine: the headdress, actually framing the face, is decorated with circles; the face is typical of late Ychsma, with arched eye-brows, huge eyes with molded lids, small nose with nostrils, molded lips, nose-to-chin lines, ears hidden by large disc ear-plugs, placed very low and decorated with circles. Straight-sided body, tapering downwards, arms placed inside the outer edge and folded horizontally above the waist, small hands; no breasts, no umbilicus, conjoined legs, no feet, incised toes. Necklace with decor of parallel "broken-lines". One mold, solid, two holes beside the shoulders; reduced fired ware, grey. Excavated by Uhle in Inca cemetery. YTard B. 1490: Small figurine, rectangular headdress, headband decorated with dots. Classic facial features; straight-sided body, arms folded horizontally at waist, large hands; no breasts or umbilicus, incised genital triangle (single incision at waist), vulva, conjoined legs. Bulky necklace, decor unclear; terracotta ware with traces of white. Excavated by Uhle in Inca cemetery. YTard B. 1494: Unusual body fragment with broken arms extended forward and short widely separated legs (no feet); no breasts, umbilicus or genitals. Necklace? One mold, solid, two holes in armpits, terracotta ware with traces of black and white paint. Surface find (Uhle). YTemp B-YM A? 1752: Small, damaged figurine: a thumb-nail sketch shows arched eyebrows, elliptic eyes and large circular ear-plugs with raised edge, the rest of the face is missing; arms folded horizontally, incised genital triangle (double incision), vulva. Necklace with incised decor. One mold, solid, two holes through shoulders, pale grey surface (reduced fired?). Excavated by Strong and Corbett in the Chala layer (Inca midden) of Cut 1, near the temple of the Sun (1943: figs.5, 20). YTard B. 1750: Head and chest of a large figurine. The headdress is typical for YTard B, as are the large disk ear-plugs with raised edge and three-tier layered and fringed bands hanging from them. Facial features include arched eye-brows, almond shaped eyes with molded lids, damaged nose, molded lips and nose-to-chin lines. Arms folded on chest, no breasts, lower part of body missing. Necklace incised with broken-lines-and dot design. One mold, solid, one hole visible on headdress, two holes through the chest, pale grey surface (reduced fired?). The specimen has the same provenance number as 1752 above and probable comes from the same stratum. YTard B. 1751:Typical small body fragment, with arms folded upwards and hands with incised fingers; no breasts, double incision at waist, lower body missing. Bulky necklace with parallel broken-lines design. One mold, solid, two holes through chest, terracotta with thin white slip in front only. Although from a different excavation unit in Strong and

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Corbett's Cut 1, it probably comes from the same stratum as 1752 and 1750 above (1943: figs.5, 20). YTard B. • 2237: Figurine with damaged head and left side of the face. Incised features : the right eye is a diagonal slit with incised lashes (?) above, rounded nose, the mouth is a straight slit, nose-to-chin lines, two horizontal incisions on right cheek, the left ear is a rounded protuberance, no chin or neck; extended left arm, no breasts, large, shallow umbilicus, incised genital triangle (single incision) and vulva, legs missing. Rectangular punctated feature across the chest. Flat profile. Hand-made, solid, pale terracotta. It was excavated from a terrace fill at the Mamacona, so it is probably earlier than the building itself and is dated by Vallejo (2009: 155, Fig.11) to YM A. The following four specimens come from the Pyramid III complex: • P575: Frontal mold, with a plain headdress, arched but not prominent eye-brows, molded eyes and lips, small ears; short body with arms folded upwards, short splayed legs, no breasts, umbilicus, low genital triangle with single line at waist, vulva with clitoris. Broad necklace with punctated decor. From Plaza III 1 (Feltham and Eeckhout 2004: Fig. 2a). YTard A? • C158: Small figurine with rounded head, indistinct facial features, large ears; straight body, arms folded upwards, incised genital triangle (single incision at waist), vulva, conjoined legs; necklace? Appears mold-made, solid, two holes, terracotta ware. From Pyramid III. YTard A? • C159: Body fragment, with arms folded horizontally above waist; breasts? incised genital triangle (double incision at waist), vulva, legs missing. Mold-made? reducedfired. YTard A? • C160: Left side of a head mold, broken at chin: fairly low headdress with headband decorated with broken-line-and-multiple-dots motif; large eyes with molded lids, nose missing, no lips visible; pointed ear with molded edge. Terracotta ware. From Pyramid III. YTard A. The following specimens are surface finds from the Inca cemetery at Puente Lurín: • 2232, 2231, 2239, 2240: Classic body fragments with arms folded upwards on the chest (2232 holds a bag) and molded hands; 2239, 2240 have breasts (punctated on 2239), all have an incised genital triangle (parts missing) with a double incision at the waist; a necklace is visible on 2239, 2240, the area is missing on the others. All are made of one frontal mold, terracotta. YTard B. • 2233: Head and body: low, flat head with incision across forehead, very large circular molded eyes and nose, but incised mouth (no lips), no ears?, body with arms folded upwards, no breasts?, incised genital triangle (double incision at waist), vulva, legs missing. Bulky necklace, decor not visible. One mold, no holes, terracotta ware. From Puente Lurín Inca cemetery. Related to Shi-a6 and indirectly to SC Type A figurines (see below). YTard B. • 2238, M43: Head fragments with part of upper body. Classic facial features with big arched eye-brows, molded eyes and lips, nose-to-chin lines on 2238. The top of the head and part of the ears of 2238 are missing, but the fringed ear-plug appendages are visible. M43 wears a high headdress with lateral vertical elements and wavy? decor; circular ear-plugs with relief edge. Both wear a necklace with punctated decor. 2238 is made of one mold, M43 is a mold; plain terracotta ware. YTard B. The following specimens come from various areas of Pachacamac: • 2234, M42: head fragments wearing the classic headdress with lateral vertical elements framing the decorated cap, circular ear-plugs with relief edge and fringed Presumably part of Pyramid Complex III, though the plaza there is numbered Plaza IV (Feltham and Eeckhout 2004: 644).

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appendages (M42), area missing on 2234; incised necklace on M42 (broken-line-anddot), 2234: missing. The facial features are classic, with big arched eye-brows (2234), hidden by headdress (M42), molded eyes and lips, nose-to-chin lines (2234). 2234 is mold-made, M42 is a mold; terracotta ware, traces of red paint on 2234. Both are said to come Pyramid 1. YTard B. 2230: Head, broken below the chin, with low flat headdress painted with what looks like birds' heads? Large molded eye-brows, large circular eyes with molded lids, chipped nose, incised open mouth (no lips), nose-to-chin lines, ears hidden by large ear-plugs decorated with a large central bead surrounded by small circles. YTard A-B? P583: Head of figurine: the rest of the body is not visible on the photograph (Makowski and Lizárraga 2011: Fig.1). Classic features: large arched eye-brows, almond-shaped eyes with molded lids, beautifully molded nose with nostrils and alae, rectangular mouth, open, with molded lips, incised nose-to-chin lines. Rectangular headdress, wide headband with incised decor of parallel broken-lines-and-dots; earplugs with central pellet and surrounding smaller pellets. The figure was part of an offering related to the closure of a small building, in use during the LH (ibid.: 335336). The offering also contained another similar figurine and a smaller one, which may have functioned as the servant of the two larger figurines 1. Note that the similar figurine has even longer eye-brows, its headdress lacks the incised head-band. There is a strong similarity with 1772, the largest of the figurines from Bandelier's "sanctuary" at Armatambo. YTar B. C161, C162 (from the MP on-line catalogue): Two fragments showing a semi-circular head without headdress (!), large arched eye-brows and oval eyes with molded lids, well molded nose, probably with nostrils and alae, mouth with molded lips and molded nose-to-chin lines. The ears are hidden by very large, convex circular earplugs, with a decor difficult to decipher. Modelled shoulders are visible on C161. Both wear a bulky necklace with a broken-line-and-dot decor. It is likely that the figurines are made of one frontal mold and solid, in a plain, patchy terracotta ware. Considering their similarity and their sequential numbering in the catalogue, the two specimens were probably found together. YTard B. C163, C164 (from the MP on-line catalogue): The two fragments are practically identical with C161-C162 above, except that here we see the molded arms folded upwards on the chest; breasts are also visible. But note that the classic perforations at shoulder level are missing. Manufacture as above. Probably found together, as above. YTardB.

DISCUSSION

Amongst the relatively small number of figurines with documented provenances from Pachacamac, we only see three specimens which are not Ychsma in style: the early 1494, a surface find (Uhle), may be distantly related to Ychsma Gr.1; 1494, 1495 are very probably Inca: they come from burials excavated by Bandelier (AMNH, Catalogue); 1509, although somewhat unusual has a number of Ychsma features. All the remaining specimens are clearly Ychsma as defined in the discussion of sg. 2.1. P583, as well as C161/C162 and C163/C164 were found together as pairs: there must be a symbolic significance to this pairing. b. PACHACAMAC: FIGURINES FROM PLAZA DE LOS PELEGRINOS Table 51 Plate: 107 Sample: 26 figurines: 2 complete or near complete + 24 fragments (examined none). Measurements: The only complete figurine measures 8.6 cm. 26 photographs of figurines were kindly provided to me by I. Shimada, 22 of them published (Shimada et al., 2010: Fig.11), four unpublished. They had been excavated by the 1

The three figurines are not listed in the Museo de Sitio de Pachacamac on-line catalogue. 282

PAP under Professor Shimada from the Plaza de los Pelegrinos at Pachacamac (see Appendix 2: Pachacamac). The main aim of the PAP was to study the "social fundamentals of the site, in order to explain its religious importance and its longevity" (Shimada 2010:112). What the various excavations units in the eastern sector uncovered was not—as had been expected— domestic structures, but a number of temporary structures, successive renovations of ritual structures and the deposition of offerings by various groups from the Central Coast and its hinterland. However a certain similarity in the rituals would indicate that these groups shared common beliefs (ibid., p.132). The numerous plant remains indicate that the rituals were generally observed during a fairly short period, in early spring (ibid., p. 127). The modest nature of the offerings points to humble people, subsisting on agriculture and fishing (ibid., p.132). It is in the various trenches of the eastern sector, that the 22 figurines illustrated in Shimada et al 2010:Fig. 11 were found 1 (see Pl. 107). The unbelievable complexity encountered by the excavators is illustrated by the drawings of "Trinchera 1- Ampliación '04" (Shimada et al 2010: Fig. 7a-d), from which the figurines Shi-b1 to Shi-b6 (see Pl. 107) are said to have been retrieved. They are largely unrelated to each other: Shi-b2 is clearly a Chancay Gr. 4 figurine (cf Pls. 91, 92), whilst Sh-b5 is probably a Chancay Gr. 6 figurine (cf Pls. 94-96) 2. Similarly Sh-a2, Sh-a4, Shi-a5, Shi-a10, Shi-a11 (see Pl.107) all come from "Trinchera 10-Capa 5-Nivel 3", and yet obviously belong to different styles and cultures: Shia2 is probably Inca, Shi-a4 and Shi-a5, with their coffee-bean eyes, could date to the Lima culture, though there are no exact parallels in our sample—or they could be very early examples of Ychsma figurines? And whilst Shi-a11 is typical for Late Ychsma (mold-made, with arms folded above the waist, bulky necklace, though no double incision at the waist), Shi-a10, probably hand-made and with very long appliquéd arms, is a one-off. The problem when describing the figurines from Plaza de los Pelegrinos is: 1) Having not seen them, it is difficult to state whether the specimens are hand- or moldmade: many can be mold-made but hand finished; nor can I state definitely whether they are solid or hollow; so I have resorted to comparisons with similar examined figurines. 2) Having no access to the paste analysis of these specimens, which—anyhow—would only be useful in relation to a database of vessels—, I can only describe the figurines and identify those which, iconographically and/or stylistically, can be attributed to the Ychsma style; they are dated according to the Ychsma chronology. • Shi-a1: Plain rectangular head, circular eyes with modelled lids, incised mouth, small semi-circular perforated ears. Hand-made? No comparable figurine. Culture? LIP 7-8? • Shi-a2: Head with tall cylindrical headdress, decorated with vertical stripes. Facial features look mold-made, chin-to-nose lines! Similarity with Inca (metal) figurines. Inca. • Shi-a3: Non-descript, somewhat damaged head with punctated headdress. Handmade, no comparable figurine. Culture? Date: LIP 7-8? • Shi-a4, Shi-a5: Heads related through their coffee-bean eyes and row of punctations on the headdress/head, nose with nostrils, incised mouth. Punctated necklace on Shia5. Hand- made. Distant similarity with Epiformative figurines (see 809, 1122/Pl.8). Culture? Early LIP? • Shi–a6: Near complete specimen, legs missing. Low, flat head with incision across the forehead. Tear-shaped eyes with very wide lids, small incised mouth, small semiIn Shimada et al 2010:Fig. 11, all the figurines in section a are said to come from "Trinchera-8-'05", those in section b from "Trinchera 1- Ampliación-'04". This was probably meant to simplify the caption to Fig.11. In fact the photographs of some of these figurines, kindly provided by Prof. Shimada, and easily identifiable on Pl. 107, bore their actual provenance, different from that given in the Fig. 11 caption. The latter have been entered in square brackets on Table 51, to distinguish them from the provenances provided with the photographs. 2 Contrary to the statement (Shimada et al 2010: 118) that no Chancay figurines were found in this cut. 1

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circular ears with central punctation. Arms folded above the waist, leaving deep cavities near the armpits; hands slightly eroded; incised genital triangle (two incisions at waist?), bulky necklace. Related to South Coast LIP-LH Type A, sgr.1.2 (see Vol. III, pp. 82-85, Pl. 40), but probably an imitation rather than an import, as there are slight differences in the facial features, the straight (rather than curvy) sides of the body; it would be interesting to know whether this specimen has the grooves marking the arms in the back, so very characteristic for SC LIP-LH Type A. Another figurine fragment in the Pachacamac on-line catalogue (no. 231567) has the same deep cavities near the armpits and hands with small punctations for fingers, typical for SC LIP-LH Type A. Probably mold-made and hand-finished, solid, with holes at the armpits, in reduced-fired ware. An import from the South Coast or a local imitation? YTard A? Shi-a7: Badly eroded, hand-made specimen, with short folded arms indicated by the punctated fingers; traces of incision at waist. The only link with Ychma would be the thick neckband with a single row of punctations. YM B-YTard A? Shi-a8: Crude hand-made specimen, no features except eyes and mouth identifiable. Culture, Date: ? Shi-a9: Body with extended arms, splayed conical legs, incised genital triangle (single incision at waist), vulva. Neckband with single row of punctations. Probably hand-made, solid. Some similarity with 1110/Pl.104 from Puruchuco. YTard A. Shi-a10: Unidentifiable specimen, with arms folded upwards and sketchy hands, one (separate) leg. Hand-made, hollow. Culture, Date: ? Shi-a11: Typical Ychsma body fragment with folded arms, incised genital triangle, bulky necklace. Mold-made, probably solid, but lacks the typical holes on the shoulders, or chest. YTard A, B? Shi-a12: Odd figurine: the top of the head has a quite common angular shape (cf. Shia1), but the face is uncommonly long; eyes with molded lids but incised mouth, damaged nose, ears missing; arms extended downwards towards abdomen, incised genital triangle (single incision), vulva, legs missing. Appears hand-made, solid, holes through arms. Date : Culture? Date: LIP 7-8? Shi-a13: Figurine related to Sh-a6 (eyes, incised mouth, punctated fingers), and to 2233 (body), but lacks the typical Ychsma necklace; headdress with punctated decor. Appears hand-made, in terracotta ware, with holes at shoulders. Ychsma? YTard A. Shi-a14: Body, arms folded upwards, hands with five fingers, incised genital triangle (single incision at waist) and vulva, splayed legs. Hand-made, thin white slip on terracotta. Ychsma? YTar A. Shi-a15, Shi-a16: Two fairly similar large heads, with one- and three-tier headdress with punctated decor, elongated face, molded eyes, semi-circular ears with central punctation. Mold-made; Shi-a16 has thin white slip on terracotta. Inca. Shi-b1: Very similar to Shi-a13, except for the round eyes and lack of perforations. Mold-made?, solid. Ychsma? YTar A? Shi-b2: Typical Chancay Group 4 ("Attendant") figurine (cf. Pls.91-92): Headdress with projecting corners, separated from the main cap by braids hanging in the back, short tunic, bulky necklace of several strands of beads, here appearing to hang from small circular ear-plugs. Chancay facial features, extended arms, separate legs. Moldmade; damaged areas at the headdress and the broken arms show that it is hollow, but actual airholes are not shown; ware, as visible on a photograph in the Pachacamac online catalogue (no. 23578) could be black-on-white, though the black is very faint. Chancay phase 3. Shi-b3: Figurine with plain head (headdress?), large eyes, arms folded at waist, incised genital triangle (double incision at waist), vulva, legs missing. Hand- or mold

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made? solid? Culture? LIP 7-8? • Shi-b4: Body with either a) short extended arms with a perforation or b) arms raised to the (missing) head?; incised genital triangle (single incision at waist), vulva, splayed conical left leg. What appears to be a bulky but straight necklace with three rows of punctations, could be a decorated panel as we see on 2237/Pl. 106, an Ychsma Medio figurine excavated from the fill at the Mamacona (see above), which also had short extended arms with a perforation; such arms also occur on 704/Pl.103 (see above), excavated in Cajamarquilla. Arms raised to the head occur on Ychsma Gr. 1 figurines (see Pl. 102), but these figurines never wear a similar necklace. Probably hand-made, solid. By analogy: YM A, B? • Shi-b5: Small, crude, hand-made specimen; semi-circular headdress with three perforations, diagonal lines above the elliptic eyes with incised lids, large, shapeless nose, tiny mouth, incised nose-to chin lines, small perforated ears; short extended arms, punctated breasts, large umbilicus. Hand-made, solid, plain terracotta ware. The incised decor is reminiscent of earlier Ychsma (cf. 2237/Pl.106, dated to YM B), but there are also strong similarities with Chancay Group 6 figurines (cf. 1372, 12/Pl.94, 229, 339/Pl. 95), e.g. the rounded head with three perforations, the rendering of the eyes, the extended arms, the large umbilicus; but the punctated breasts as well as perforations at armpit level are Ychsma. Chancay phase 3 or YM B? Tard A? • Shi-b6: Unidentifiable specimen: the tall headdress with punctated decor bears some resemblance with Shi-a15 and Shi-a16, which look late, but is combined with coffeebean eyes (?); extended vestigial arms, the left one with punctations, large umbilicus, incision at waist (but not a genital triangle?), separate legs. Culture? Date? The following figurines are not shown on Shimada et al., 2010: Fig. 11 – the photographs and exact provenances were kindly provided by Professor Shimada: • Shi-Ph1, Shi-Ph2, Shi-Ph3: Typical Ychsma figurine body fragments: pointed shoulders on Shi-Ph2, 3, arms folded upwards on the chest, incised fingers, incised genital triangle (single incision at waist), vulva; Shi-Ph1 has separate legs, Shi-Ph2 perhaps conjoined legs? Necklace with punctated (Shi-Ph1, 3) or incised decor (ShiPh2). Probably made of one mold, retouched by hand, holes at shoulders on Shi-Ph3 only. YTard A. • Shi-Ph4: Damaged head and body fragment. The top of the large head is missing, the facial features damaged; curious detail: the arms are folded upwards, but the left arm and hand are considerably smaller than the right one; incised genital triangle (single incision at waist), vulva; it is not clear whether there is a necklace? Hand- or moldmade? Traces of cream slip, holes at side of arms. YTard A. DISCUSSION

The figurine fragments excavated at Plaza de los Pelegrinos clearly reflect the nature of the site, as interpreted by the excavators: this was a place where people came from outside the immediate area to perform various ritual activities. As a result only just over half the figurines can be tentatively classified as Ychsma and very few of them are typical (e.g. Shi-a11, ShiPh1, Shi-Ph2, Shi-Ph3). Not surprisingly, since the site predates the LH, there are no classic YTar B figurines. Surprisingly however there are three heads which appear to be Inca (Shi-a2, Shi-a15, Shi-a16). Could these be imports from the Highlands predating the actual Inca occupation of the site, or are they an admixture dating to the LH remodelling of the Plaza? Another curious aspect are figurines like Shi-a4 or Shi-a5, which only have parallels in the Epiformative of the Rimac Valley (see Pls. 6 to 8) or—at a stretch—in Late Lima or Nieveria figurines (see Pl.13): it is difficult to imagine that they could be heirlooms? Finally there are some figurines which could be straight imports: Shi-a6 from the SC, Shi-b2, Shi-b5? from

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C. FIGURINES FROM PUEBLO VIEJO-PUCARÁ (see Appendix 2)

The team of the PATL, under Prof. Makowski, put at my disposal a catalogue of 119 figurines excavated at the site 1, 71 of which I was able to include in this study, most of them fragments. The remaining specimens were either animals (32) or fragments too small to be diagnostic. When Prof. Makowski provided me with this material, he emphasised the fact that there appeared to be no ceramic production at the site itself, so all the figurines were – so to speak – imported. We know that the population at Pueblo Viejo did not originate locally, but was composed of mitimaes, probably form the area of Huarochiri, so much of the associated non-Ychsma material probably comes from there or other sites in the nearby sierra. Paste analysis has provided some clues as to the provenance of some, if not all, figurines, but it is not possible to include this information into this more general study. As far as the dating of the figurines is concerned, we know that Pueblo Viejo does not predate the LH and probably survived for a brief span of time into colonial times. This of course does not mean that none of the figurines predates the LH. I have tried to separate figurines which appear to belong to Ychsma from those that do not on purely iconographic and stylistic criteria. C1. YCHSMA-STYLE FIGURINES EXCAVATED IN PUEBLO VIEJO-PUCARÁ

Table 51 Plate: 108 Sample: 43 Figurines: 5 complete specimens, 13 head- and upper body fragments, 25 body fragments (examined none) Measurements: The complete figurines measure between 5.4 and 7.5 cm. It is impossible to assess the size of other specimens, but we are obviously dealing with fairly small figurines. Characteristics: Head: The typical fairly high rectangular head shape, with slightly rounded top, is only clearly visible on 30, 9, 46; less high and/or with incised decor: 75, 87, 8, 16, 19(?) 42, 116. Rounded, lower: 1, 38, 81; more unusual are the elongated (84, 100) and bilobed (34) heads. Face: A classic Ychsma feature are the thick arched eyebrows (30, 9, 8, 16, 34), though they are absent (or not visible) on the majority of specimens. The shape of the eye can from oval (e.g.16) to circular (e.g. 30, 38), but mostly with thick molded lids, the nose is often damaged, lips are also molded; ears are mostly semi-circular, either perforated (e.g. 42) or hidden by ear-plugs (e.g. 38, 30). 8, 81, 8, 9, 34 have incised nose-to-chin lines. Body: A classic Ychsma feature are the arms folded upwards on the chest (e.g. 38, 17, 24 etc), but they can also be folded horizontally at or above the waist (3, 15, 62, 86 etc). One of the complete figurines (PV75 – not Ychsma?) has very short extended arms, possibly also 81? 87 and 69 with holes at the armpits may show folded arms? Hands nearly always have molded fingers. Only five figurines still have their legs, completely conjoined (26, 56, 101) or partly separated and joined at the feet (28, 69); feet can be indicated by vertically incised toes (26, 28). Only PV6 shows small breasts with punctated nipples. Where not damaged, we always see an incised genital triangle (with a double incision at the waist on 6, 18, 101) and an incision to mark the vulva; note the double incision at the vulva, indicating the clitoris (82). Accessories: A headdress is not always worn by Ychsma figurines, even though the high rectangular head shape (87, 9, 30, 46) may indicate one. In this sample 8 and 116 wear a low headdress, with vertical incisions and three perforations on 8, broken-lines-and dot incisions on 116; 42 wears rounded bonnet with punctated decor, a headband is visible on 81 (plain) and 16 (incised broken-line-and-dot). The most characteristic Ychsma accessory is the necklace: only PV19—i.e. one specimen out of 23 on which that area is visible—does not The catalogue of figurines, elaborated as part of the PATL project, was provided by Cynthia Vargas and Lucia Watson under the aegis of Prof. Makowski. The main cataloguers are: Grace Alexandrino, Sergio Barraza, Juan Cárdenas, Claudia Uribe, Carol Rodriguez and Lilian Abrigo. The numbering of individual figurines (PV..) was introduced by me, the catalogue numbers being too unwieldy to use here 1

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wear one. The necklace is usually bulky and incised (e.g. 6) or punctated (e.g. 43); it can be worn like a chocker, close to the neck (e.g. 84, 24) or hanging down on the chest (e.g. 18); occasionally the necklace is only a narrow decorated band (87, 34), painted on 17. Ear-plugs are fairly common: they are mostly circular, either concave (e.g. 38) or semi-spherical (e.g. 30). Some Ychsma fragments from other sites (2333/Pl.103, 1750, M42/Pl.106, P577, 258/Pl.110) have ear-plugs with hanging fringed appendages: here we see these on 18 and 43. P578 (Cordova Palacios 2011: Lám.132, photo: lower right, drawing: lower middle), a published body fragment from Pueblo Viejo, not included in the PATL catalogue, shows some of the Ychsma characteristics: folded arms with molded hands, incised genital triangle and vulva, conjoined legs, bulky decorated necklace. Another similar but very small figurine (ibid., Lám 132, photo: upper right) also looks like typical Ychsma. Manufacture: Most of the figurines are made of one frontal mold, probably with some hand retouching, and are solid; only 108 and 105 appear hollow, so they could have been made with two molds. 25 and 93 could be entirely hand-made or only look hand-made because of their damaged surface. The majority are made of plain oxidised terracotta ware, occasionally with traces of white decor; the face fragment 44 is said to be in reduced fired ware, grey with white paint, whilst 46 is in oxidised ware with black and white decor, though the actual paste is said to be the same. Both these and 108 belong to the so-called Puerto Viejo ware type (Bonavia 1959; Makowski and Vega Centeno 2004: Fig.7a1 and a2). C2. "ASSOCIATED" NON-YCHSMA FIGURINES, EXCAVATED IN PUEBLO VIEJO-PUCARÁ

Table 51 Plate: 109 Sample: 32 Figurines: 5 complete specimens, 24 head- and upper body fragments, 3 body fragments (examined none). Measurements: The complete figurines measure between 3.2 and 9.0 cm. DESCRIPTION

There is absolutely no common denominator or even resemblance between either these figurines themselves or between them and other recorded specimens. Heads can be more or less rectangular to rounded, but also bilobed (23, 33, 95), pointed (P581), with a higher or lower forehead (cf. 64, 119 with 5 or 14) with a headdress (12, 13, 20, 64?, 83, 85, 114, P579, P580) or without, or with a incised hair (2, 22?, P582). Features such as the eyes can be circular or almond-shaped, simply incised (21, 68, 94) or have "molded" eye-balls and lids (12, 22, 33); note the large appliquéd eyes of 14 or the circular eyes of 5 with very small eyeballs (and its eyebrows with vertical incisions!), noses, mouths and ears are often damaged, but note the very large noses of 53, 68, the mouth made of two punctations (2), ears of an unusual shape (P579) or with prominent ear-plugs (64). Bodies are even more unusual: 97: Complete sitting figure, with a molded face showing nose-to-chin lines and hands resting on the knees of the joined folded legs, wearing a tall "fluted" hat and an unusual necklace? hanging on the chest; the back is plain. 98: Stick-like small elongated figure: the eyes, mouth and hair, long in the back, are incised; arms extended forward are broken, legs slightly flexed at the knees, feet broken, appears to wear incised "shorts", also in the back. 99: Another sitting? figurine, head missing, arms at the sides and folded? legs, appears to have a male sex, damaged; hanging "band" in the back. The cataloguer suggests that it might have been attached to a vessel. 7, 11, P585: miniature figurines, incised features; 7 may show extended arms, arms folded on 11 and 85?; conjoined legs (7, 11), separate (P582), incised genital triangles (and vulva on P582); necklace with circular impressions (P582). 36, 103: Body fragments with part of legs – totally non-descript. Accessories: 12 and P579 wear high headdresses; on 12 the headdress has a narrow raised edge at the front and covers the neck at the back; 13 and 20 wear a cap, rounded on 13, more 287

pointed on 20 with a chin strap; ear-plugs, mostly damaged, are non-descript. Only 33, P579, P580 and P582 wear a narrow necklace, with incised or punctated decor. Manufacture: Contrary to the Ychsma sample above, over 42% are definitely hand-made, with several others difficult to assess; but like in the Ychsma sample only three specimens are hollow. They are made in simple, mostly unburnished, oxidised ware (traces of self-slip on 68); only 53, 85 and 119 show traces of white paint; five specimen are reduced fired. DISCUSSION

As already mentioned in the introduction to the Pueblo Viejo sample, we are here in presence of a single site, which "imported" its figurines from the various areas with which it was in contact. We also know that the site dates to the LH, though some specimens may date to the Early Colonial Period (Makowski, pers. comm.). An analysis of the pottery from the site showed more than 16 different pottery traditions, covering a number of styles (Makowski and Vega Centeno 2004 1). This explains the presence of a large late Ychsma sample and also a few Inca-related figurines amongst the "associated" material (12, 13, 20, 83, 85, 114). But we ask ourselves, when looking at the non-Ychsma figurines, whether some of the more "primitive" figurines (such as 2, 5, 14, 22, 23, 33, 91, 94, 95, 96) could be heirlooms, a question we have also asked about some figurines excavated at Plaza de los Pelegrinos, Pachacamac. However, it is more likely that the majority of the "associated" figurines were roughly contemporary, made in the vast local "hinterland", in styles that were "individual" up to a point and techniques which were fairly similar. This leaves the elaborate sitting figurine 97 and the thin standing figurine 98 as totally outside our parameters. Interestingly they both come from the same Sector of the site (IV) and the same excavation unit (1), though form different levels. We have seen at Plaza de los Pelegrinos (and also at Panquilma, below) that figurines functioned as religious paraphernalia in offerings and other rites. Much is made in the literature of the fact that so many figurines are broken, suggesting that this was the result of some ritual. But considering how often it is the heads that are broken off, the explanation might be simply that the much narrower neck is an obvious breakage point. It may also mean that these small, solid figurines, so easily mass-produced, were not a particular object of veneration? At PuebloViejo—for once in the archaeological record—we have a large sample of figurines, retrieved in controlled contexts, so a systematic review of the ultimate use they were put to, in what exact location and by whom, is really possible, though unfortunately not within the framework of the present study. d. FIGURINES FROM OTHER SITES IN THE LURÍN VALLEY Table 51 Plate: 110 Sample: 5 Figurines (all damaged), examined none. PANQUILMA : The site is located on the left margin of the Rio Lurín, 28 km up valley from Pachacamac, at 400 m. altitude, in the area of present-day Cieneguilla. It is a multi-component site with public architecture, an elite domestic area and presumed non-elite domestic areas outside the site's core. It dates to the LIP and LH (Lopez-Hurtado 2011: 30ff). • P576: Typical late Ychsma figurine body fragment, with arms and molded hands folded above the waist, an incised genital triangle and vulva, as well as a bulky necklace. The figurine is made of one-mold, solid, with perforations at the armpits, the unburnished surface appears to be pale terracotta. The figurine was found on the plaza in front of Pyramid I in Sector 1: the figurine fragment was deposited in a small hole in one of eight consecutive floors; another offering in a similar hole consisted of four complete Spondylus valves. The plaza area appears to have served for deposing offerings, probably made by members of the ruling elite, residing in neighbouring 1

This number may have increased since the publication of the study. 288

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households. (Lopez-Hurtado 2011: 90ff). The ritual depositions on the plaza were made during Phase 2, i.e. the LH, so this figurine dates to YTard B. P577: Typical late Ychsma head and upper body fragment: the headdress shows a cap, decorated with an elaborate design of parallel broken-lines-and-multiples-dots, between two vertical elements, now partly broken; the facial features include arched eyebrows, large near circular eyes with molded lids, a broken nose with nostrils, large molded lips and ears hidden by circular ear-plugs with hanging three-tier fringed appendages. Arms with molded hands folded above the waist, incised genital triangle and vulva (just visible), legs broken off. Wide necklace with decor of lines? and circles. Single mold, solid, no perforations visible, pale terracotta. The figurine comes from a midden in Sector 2, a domestic area, where "a vast array of artefacts, like serving and storage vessels and religious paraphernalia, like anthropomorphic and zoomorphic figurines and rattles, but most represented were utensils for textile production" were also retrieved (Lopez-Hurtado 2011: 164, my translation). The fact that the religious paraphernalia were found in feasting contexts in household compounds suggests the performance of ancestor worship rituals (ibid., 166). Sector 2 dates to Phase 2, so this specimen dates to YTard B. P584, P585, 586: All three figurines were excavated by J. Feltham at Panquilma, from what she thought was a midden, but turned out to be "looters back dirt" (pers. comm.). P584 could be Ychsma, though by no means typical. P585, a crude handmade figurine of unbaked clay, was found in the lowest stratum of the excavation, but rather than an early specimen, it is probably an import from the near-by Sierra. P586, a blackware figurine with post-fired white and red incrusted paint is very similar to some late Chancay specimens (cf. Chancay sg. 1.6.2c/Pl. 79), though with folded arms, so it could be a local imitation or an import? 1

AVILLAY: situated near present-day Sisiscaya, about 18 km upstream from Panquilma. According to Marcone (2004: 728) it is an area of constant struggle between the coastal and Sierra populations and was probably taken by the latter, with the help of the Incas. • P587, a crude, probably hand-made figurine, is a surface find made by J. Feltham. It resembles Sh-b1 and indirectly Shi-a6, Shi-a13/Pl. 107 from Plaza de los Pelegrinos at Pachacamac. YTar A? DISCUSSION: This very small sample shows that, like at Pueblo Viejo itself, other sites in the Lurín valley also had contacts with neighbouring areas, not necessarily producing Ychsma figurines: apart from P576, P577 and possibly P584 from Panquilma, the remaining figurines definitely belong to other traditions, with P586 strongly influenced by late Chancay blackware. YCHSMA SUB-GROUP 2.2B : FIGURINES WITH UNDOCUMENTED PROVENANCES FROM THE LURÍN VALLEY

Table 51 Plate: 110 Sample: 8 Figurines (examined all) Measurements: Half of the figurines are damaged: the largest one must have measured over 22.0 cm, the smallest around 7.0 cm.: the undamaged specimens measure between 17.8 and 15.5 cm. DESCRIPTION

Although all the figurines are said to come from Pachacamac 2, they are a very disparate lot. Some specimens show both Chancay and Ychsma style influences: • 1443 is clearly an imitation of a classic Chancay cuchimilco, though much is An even more Chancay-like blackware figurine with white post-fired paint, also appears in the on-line catalogue of Pachacamac (no. 231045).

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different: the headdress has no perforations or headband, the facial features are incised, the arms are folded, there are appliquéd breasts (all Ychsma features, as are the incised nose-to-chin lines), the genital triangle is small, squarish. Moreover the figurine is hand- rather than mold-made, with air-holes behind the upper arms rather than at the waist. LIP 8-9? 496 has folded arms, a necklace and ear-plugs that are Ychsma-related, as is the single mold; but the high rectangular headdress, a Chancay feature, the more rounded overall shape and the molded rather than incised genital triangle, lack of perforations through the chest and the yellowy-white slip are different. LIP 8-9? 1815 also has a Chancay-style headdress, with eight perforations, but no headband. The rest is clearly Ychsma: molded, arched eyebrows, arms folded upwards, necklace and ear-plugs, one frontal mold, solid, holes through the chest. YTard A, B?. M35 is very similar to another Ychsma mold from Pyramid III at Pachacamac (P575/Pl.106), dated to YTard A. 123 is rather unusual, though with some Ychsma features (arms folded upwards, double incision at the waist, necklace, one-mold manufacture); even the low headdress with decorated band has some Ychsma parallels: 2235/Pl.104, 1490/Pl. 106, PV8, PV116/Pl.108. YTard A-B? 258, 1429, are typical classic Ychsma (cf. many documented fragments from Pachacamac/Pl.106). YTard B. 322 with its narrow "stepped" headdress, fastened under the chin, is reminiscent of what are probably Inca specimens, like Shi-a16/Pl.107 from Pachacamac or PV20 and PV83/Pl. 109 from Pueblo Viejo. There is also some resemblance is with other Inca (?) sitting figurines, like 1382/Pl.103 from Cajamarquilla and C156/Pl.100, with a bulky Ychsma style necklace, from a workbasket found in the Chillón Valley. Inca

DISCUSSION

This small but extremely diverse group of figurines fully illustrates the difficulties one faces when trying to define an Ychsma figurine style on the basis of provenances – here undocumented. Of the eight specimens only 258 and 1429 show typical (late) Ychsma characteristics; M35 and 123 can also be identified as slightly earlier Ychsma specimens. Of the remaining figurines three (1443, 496, 1815) show clear, though "diluted" Chancay influences. Finally 322 is very likely Inca-derived. Obviously only a ware analysis with a large data-base will eventually identify production centres and/or isolated work-shops. THE YCHSMA FIGURINES: SYNOPSIS

This study is based on a sample of 233 figurines, mostly fragments, which come from the Rimac and Lurín valleys and of which 181 1 have been assigned to a putative "Ychsma figurine style". I am not familiar with figurines from valleys to the south, such as Mala or Asia: a small figurine appears tantalisingly in a picture of ceramics from Asia (Angeles and Pozzi-Escot 2004: Fig. 20), but looks like a typical CC LH figurine. A handful of other fairly typical CC LH or Inca figurines were also excavated on the South Coast (see Vol. III, pp. 114115, Pl. 58). We first witness the emergence of a specific Ychsma group of figurines (Ychsma Group 1), at the very end of the MH. It displays what looks like a strong influence from the contemporary pottery style in the Huaura valley to the north. But it is centred around Pachacamac, with minimal incursions into lower Rimac valley sites like Maranga, Huallamarca or Vista Alegre. Its 31 specimens (including four atypical figurines) are extremely homogenous and appear to represent a mythical personage, which is also represented on various face-necks. Group 1 can be safely dated to YTemp A, some specimens may date to YTemp B. After deducting 13 non-Ychsma specimens from Plaza de los Pelegrinos, Pachacamac, 32 non Ychsma specimens from Pueblo Viejo and seven from other sites.

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Group 1 does not outlive the early epochs of the LIP, after which the production of Ychsma figurines appears to diminish markedly, so much so that they could only be identified and classified as Ychsma Group 2—for the purposes of this study—on the basis that: a) they did not belong iconographically to the Chancay style which dominates the valleys to the north during the LIP, and b) that they were actually found in the Rimac or Lurín valleys. When we take a count of Group 2 figurines, recorded in the Rimac and Lurín valleys during LIP 4-6, corresponding to YTemp B and YMed A and B, we see that there are only 16 specimens, (8.8 % of total) and four of these could be YTard A. Obviously this may also be due to faulty dating on my part, since there is hardly any documented context or comparative material, but it is worth pointing out. After the early Ychsma Group 1—very specific both in its provenance and in its iconography—there appears to be no Ychsma figurine style dating to the middle part of the LIP. We see what looks like a survival of the crude Nieveria figurines (704/Pl.103, 1454/Pl. 105), but above all a noticeable Chancay influence at that time (and later), in the overall shape (cf. 701, 2210/Pl.104), the presence of extended arms (cf. 2214, 2215, 702, 704/Pl. 103) and especially in the shape of the headdress. But interestingly, it is only the Chancay cuchimilco (Chancay Gr.1) that comes into play: the elongated or pointed head (Chancay Gr. 2) now becomes very rare: there are altogether 12 figurines with elongated head in Ychsma Gr. 2, three of them amongst the figurines from the Armatambo shrine, probably—like in Chancay—showing personages from the Sierra? The Chancay "Witch" or "China" (Group 3) is not represented, nor the "Attendant" (Group 4), though one obviously imported example of the "Attendant" was excavated at Plaza de Los Pelegrinos, Pachacamac (Shi-b2/Pl.107). Finally, towards the end of the LIP (YTard A) a new impetus seems to lead to the emergence of a more specific Ychsma figurine style: a small standing figurine with arms folded upwards on the chest, a variety of headdresses and a bulky necklace; it is now often made of a single frontal mold, with perforations on the upper chest. There are roughly 40 specimens which could belong to this phase, though many could be somewhat earlier (YM B) or later (YTard B). The Ychsma figurine just described under YTard A, finally becomes fully defined iconographically during the Late Horizon (YTard B), in the typical late Ychsma specimen with important headdress, ear-plugs, necklace etc. (e.g. 1750/Pl. 106, P577/Pl.107, 258/Pl.110). But meanwhile a similar figurine style sweeps the whole of the CC! (see Chapter 11). As for the function of Ychsma figurines: although some appear in burial contexts (for instance probably at Huallamarca, at Cajamarquilla and in the two graves excavated by Bandelier at Pachacamac), we have more evidence of use in a ceremonial context, for instance in the shrine at Armatambo or in the offerings at Panquilma. We shall have to wait for a targeted context study of the huge sample from Pueblo Viejo to answer that question. Two last observations bearing on the function: It is often said in the archaeological record that the two perforations which the majority of figurines have through the chest—and which are not airholes, as the specimens are solid—are used to "suspend" the figurines. This could be plausible for small figurines, although there is no known instance in the archaeological record, showing how and where they would have been suspended. It is unthinkable for larger specimens, like for instance 835, 830, 4l9/Pl.105 which weigh 590 gr., 580 gr. and 500 gr. respectively. But we are left with the question: what could have been the function or the meaning of these perforations? Could they be a "survival" of the earlier ubiquitous air-holes? It has been remarked that so many of the specimens are fragments, that they must have been broken intentionally. But they are mostly broken either at the neck or at the point where the legs join the body, two areas which are weaker. Also, if these figurines were more commonly used in a ceremonial context, rather than as grave-goods, they would have been handled more frequently and therefore more easily damaged. And combining these two observations: if the figurines were meant to be suspended, would they have been ritually broken? The Ychsma figurines present us with two unanswered questions: 291

1) How can we explain the scarcity of Ychsma figurines during the middle phases of the LIP? The most obvious explanation would be the greater destruction of archaeological material in such densely populated and looted areas as the Rimac valley and the vicinity of Pachacamac. But perhaps there also comes into play a lack of interest of local people in figurines? We know that there are surprisingly few Lima or Nieveria figurines, during the middle phases of the EIP and the MH, when figurines were prolific on the North and South Coast. Furthermore 27 Ychsma gravelots from the large cemetery at Rinconada Alta, Rimac Valley, dating from YTemp B to YTard B contained no figurines (Diaz and Vallejo 2005: 237ff). There is possibly a similar phenomenon on the South Coast, where there are apparently no figurines dating to between the late MH and LIP 6. However Stumer (1954c:141) remarks that at Armatambo in the 1950s, one could find many figurine fragments on the surface!? 2) We know that the Inca reorganised the administration of Central Coast valleys. But what form did the political and cultural structures take, resulting in the new LH figurine style, combining influences from the Chancay-Huaura-Ancón and from the Rimac-Lurín areas?

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CHAPTER 11: CENTRAL COAST FIGURINES OF THE LATE HORIZON – CULTURALLY UNASSIGNED INTRODUCTION Late Horizon Central Coast figurines which could be identified as belonging to the Chancay and Ychsma pottery styles—either stylistically and/or because of their provenance— are studied in Chapters 9 and 10 respectively. Here we deal with figurines which undoubtedly come from the Central Coast and date to the Late Horizon, but do not clearly belong to one or the other style. Late Horizon Central Coast figurines are a development of the specific tradition which originates in the northern part of the Central Coast and has its roots in early Huaura and its successor, the Chancay style. But at the beginning of the Late Horizon, and possibly earlier, an important admixture of elements which have been identified as specifically Ychsma come into play, even though the Ychsma figurine style is also—to a certain degree—part of the same (northern) tradition. With Huaura and Chancay one is on firm ground regarding the characteristics and their development over time, whilst the Ychsma groups—except for the homogenous early Ychsma Gr. 1—were "stitched together" for the purpose of this Corpus, using reliable and fairly reliable provenances, resemblances, etc. (see Chapter 10). Nevertheless some specific characteristics did emerge and they in turn are brought into play here. About half of the LH figurines in this chapter have provenances—all from the valleys to the North (and mainly from Ancón), since any figurines from the Rimac and Lurín valleys were included in the Ychsma figurines, in an attempt to establish an Ychsma style. A couple of CC-LH figurines were found in documented contexts on the South Coast, at Cerro Azul, Cañete and Pampa de Canelos, Chincha (see P230 and 2022 in Vol. III, Pl. 58). I believe that especially 2022 is a direct import from the Central Coast, rather than a local “Inca-influenced Late Horizon variant...in use in an area under the influence of Pachacamac” (Menzel 1967:30 and Pl. XVIII, fig.41). Typical Late Horizon South Coast figurines look different (see f.i. 299, Vol. III, Pl.51). So the figurines of the Late Horizon are the result of a fusion between the stylistic tradition prevalent during most of the LIP in the northern sector of the Central Coast—exemplified by the Huaura and Chancay cultures—and some innovations introduced during the later phases of the Ychsma ceramic style. The Inca style appears to have had no influence on the Late Horizon figurines of the Central Coast, except, very rarely, on the ware. It is true that there are very few Highland Inca pottery figurines, since they are mainly made of metal and their overall shape, especially that of the head, is quite different. Nor can we say that the return to folded arms which occurs during the Late Horizon is due to the Inca influence, since extended arms were strictly a Chancay phenomenon: both earlier and later Central Coast figurines have nearly always folded arms. Other earlier Central Coast styles, such as Wari/Pachacamac, Lima/Nieveria, and Supe figurines, have entirely disappeared by the Late Horizon. THE LATE HORIZON FIGURINES OF THE CENTRAL COAST The 107 LH figurines are divided into: Group 1: LH "Standard" Figurines Sub-Group 1.1: Large, hand-made, hollow figurines Sub-Group 1.1A: Large, hand-made, hollow figurines with extended arms; Sub-Group 1.1B: Large, hand-made, hollow figurines with folded arms;

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Sub-Group 1.2: Figurines made of one (frontal) mold Sub-Group 1.2A: Figurines made of one frontal mold and hand-made back, hollow Sub-Group 1.2B: Figurines made of one frontal mold only, solid Sub-Group 1.2C: Miniature figurines made of a frontal mold only, solid Group 2: LH Figurines with elongated head Group 3: LH "Specials" LH GROUP 1: LATE HORIZON "STANDARD" FIGURINES SUB-GROUP 1.1: LARGE, HAND-MADE, HOLLOW FIGURINES

Sub-Group 1.1A: Large, hand-made, hollow figurines with extended arms Sub-Group 1.1B: Large, hand-made, hollow figurines with folded arms The two sub-groups are very similar, except for the position of the arms and are described together. Table 52 Plates 110-113 Sample: Sgr. 1.1A: 18 Figurines (examined 17) ) Overall Sgr. 1.1B: 13 Figurines (examined 13) ) Total + 6 Head Fragments, belonging to either sgr. 1.1A or 1.1B ) 37 Measurements: Maximum Minimum Median Sub-group 1.1A Height (13) 45.0 cm 15.4 cm 34.0 cm Width (11) 23.4 cm 8.3 cm 15.8 cm Thickness (13) 13.5 cm 4.7 cm 10.8 cm Weight (7) 2180 gr. 250 gr. 990 gr. The four sitting figurines have a height between 24.5 cm and 11.3 cm, a width between 19.5 cm and 10.3 cm and a thickness between 16.0 cm and 6.9 cm. Sub-group 1.1B Height (12) 54.5 cm 14.7 cm 42.0 cm Width (10) 19.2 cm 7.1 cm 14.7 cm Thickness (11) 13.9 cm 6.6 cm 12.2 cm Weight (5) 2340 gr. 830 gr. 1310 gr. 1 The seven head fragments have a height between 16.0 cm and 8.2 cm, a width between 17.2 cm and 8.0 cm and a thickness between 12.5 cm and 6.0 cm. GROUP CHARACTERISTICS

Large standing figures clearly derived from the Chancay cuchimilco (Chancay Group 1). with its large head, mostly featuring an angular headdress. Head: Between one quarter and one third of total size; the crown can be flat (e.g. 417/Pl.110, 1346/Pl.112) to variously rounded (e.g. 1632/Pl.111), completely semi-circular on 1455/Pl.111; the sides of the head can widen at the top, from markedly (e.g.252/Pl.110, 410/Pl.112) to hardly at all (e.g. 1347/Pl.112); on 1301/Pl.111 the head widens towards the neck. Straight profile, flattened at the top (fronto-occipital cranial deformation), varying in thickness, sometimes broadening towards the neck (cf. 623/Pl. 110, with 251, 205/Pl.111). The face has fairly naturalistic proportions and often some modelling; seven figurines show face-paint (on the cheeks: 623, 251/Pl.110, 205/Pl.111, 246/Pl.112; the lower part of the face: 239/Pl.112; on both: 97/Pl.113); on the nose: 205/Pl.111, 239 and 246/Pl.112; on 244/Pl.112 the face is left in plain terracotta, whilst the rest of the body is painted white, on P588 most of the face is painted black, except for a narrow white band across the cheeks; in addition there a traces of post-fired red pigment on the head (Haas 1986: 313-314). Molded or incised nose-to-cheek lines also occur (e.g. 252/Pl.110, 543, 2189, 1455/Pl.111, 1300, 250, 244, 1347/Pl.112, 1

One if the head fragments, 401, shows a folded arm and is listed with sg.1.1B. 294

520/Pl.113). Eyebrows: 21 specimens (57 %) have prominent modelled and/or painted semicircular eyebrows (e.g. 251/Pl.110, 239/Pl.112), incised on 1301, 1302/Pl.111). Eyes: fairly standardised, lenticular or almond-shaped eyes, with modelled lids (incised on 252/Pl.110, 1300, 1342/Pl.112, 879/Pl.113) and raised pupils; incised pupils only: 1632, 1301, 1302/Pl.111. On 10 specimens the pupils are painted a darker colour and outlined in white (e.g. 623/Pl.110, 239/Pl.112, 97/Pl.113). Nose: Quite standardised, long and pointed (e.g. 251/Pl.111), or slightly hooked (e.g. 443/Pl.111); nostrils are nearly always shown, alae are rare, sometimes incised (252/Pl.110, 1300/Pl.112); 205/Pl.110, 239, 246/Pl.112 have small designs on Fig. 75 the sides of the nose: note the a hook-like design on the nose of 239 (see Fig. 75); Mouth: Straight, with thin, modelled lips, rarely thicker (e.g. 543/Pl.111, 523/Pl.113). The space between the lips can be open, sometimes painted white (e.g. 97/Pl.113) or with painted teeth (205/Pl.111). 520/Pl.113 is smiling. Ears: The majority have standardised, fairly naturalistic ears, though the curve can be exaggerated (e.g. 205/Pl.111); perforated on six specimens; on six specimens the ears are completely hidden by large ear-plugs (e.g.1455/Pl.111, 244/Pl.112, 203/Pl.113); ears broken on 1299/Pl.111, 879/Pl.113; 1301, 1302/Pl.111 have no ears;. Chin: oval to pointed, rarely jutting (e.g. 251/Pl.111, 1300/Pl.112), some specimens have straight chins, except for a protruding central part, resting on the chest (e.g. 1145/Pl.112); no chin on 1301/Pl.111. Neck: Mostly short, no neck on 1301, 1302/Pl.111, 1347/Pl.112. Body: Fairly large in relation to the head and legs, but varying in shape from rotund, with broad shoulders and abdomen (e.g. 251/Pl.110) to very narrow, straight, elongated (e.g. 454/Pl.112), with many variants in between. Modelling of body features (apart from the genital triangle) is rare (e.g. thoracic cage on 252/P.110). In profile the back is moderately convex (exceptions: 1742, 1301, 1302/Pl.111: straight backs); 1455/Pl.111, 1342/Pl.112 are hunchbacks. 1632, 1299, 443/Pl.111, 454/Pl.112 are painted a light colour in front, a darker one in the back, with the dividing line clearly visible at the sides. Four specimens are sitting. Six are head fragments only, on 1746 the head and lower body are preserved (see Pl. 113). Arms: extended on 18 figurines (broken off on 1299/P.111), mostly sideways and slightly upwards (forward on 443, 1301, 1302, 2189/Pl.111); arms are generally short (longer on 1455/Pl.111), with concave hands and notched or incised fingers (no fingers on 522, 1301, 1302/Pl.111). 13 figurines have folded arms (upwards on nine, horizontally on four), with incised and/or painted fingers. On 250, 1346, 239, 1342/Pl.112 the arms and hands are outlined in contrasting paint. Legs: Mostly tubular, varying in shape and length, (note the very short legs in proportion to the body on 1632/Pl.111, 246, 1145/Pl.112), some with modelled knees (e.g. 251/Pl.110, 1145/Pl.112) or ankle-bones (239/Pl.112). Small, flat feet, mostly with incised toes. 19 (73 % 1) figurines have a “bridge”, joining the legs at the feet or slightly above. Three sitting figurines have the typical thin legs, with vestigial feet, folded along the body; 543/Pl.111 has only small feet and incised toes. Genitals: Nearly all the specimens are female, usually with an incised, slightly raised genital triangle, (eight out of 26 (31 %) with a double incision at the waist; the vulva is incised and several figurines have a modelled protruding clitoris (e.g. 251/Pl.110, 239/Pl.112); no genitals are shown on the sitting 1474, 2189, 1455/Pl.111. Breasts: Are mostly shown as small nipples (except on 1299, 443/Pl.111, 522, 454/Pl.112), often placed very high, to the sides (e.g. 1300, 1346/Pl.112); note pointed breasts on 1330, pendant breasts on 244/Pl.112. Umbilicus: Shown on most figurines. Back: Apart from the necklace or ear-plugs, backs are mostly featureless, occasionally showing a vertical groove (e.g. 239/Pl.112); incised at the waist (1347/Pl.112). Clothing, Accessories: Headdress: The shape of the head mostly indicates a headdress (except possibly on 1632, 1299, 1301, 1302/Pl.111, 1347Pl.112), but generally there is no ornamental band or even a delimitation between the headdress and the forehead. Only the sitting 1474, 543 and 2189/Pl.111, and the head fragment 97/Pl.113 have ornamental band (meander-and-dot: 97; variants of broken lines: 1474, 543, 2189). 244/Pl.112 wears an 1

This calculation is based on the 26 figurines with visible legs. 295

elaborate headdress consisting of a flat cap decorated with two incised fish and a border-band with incised step-and-meander motif and appendages hanging down from the headdress, on both sides of the face, to the arms (Fig. 76). Perforations occur on only three specimens (8% ): eleven perforations on 252/Pl.110, eight on 1300/Pl.112, eight on eight on 520/Pl.113, in two sets of four. Clothing: Not represented on the figurines themselves, but several specimens were found with textile clothing: P588 wears a brown garment with white thread at the upper and lower edge and stuffed down the front with raw cotton; two tassels of dark blue cotton thread hang down the front; the back is covered by an Fig. 76 almost black cloth. The figure carries a textile bag made of brown and yellow wool, with a light- and dark-blue band, filled with small maize cobs and tied with vegetable fibres. 1742 wears a long shirt made of two panels of loosely woven cloth in contrasting colours, sewn together along the sides. A plaited belt is knotted at the front, some raw cotton protrudes below. 1330 is wrapped in a folded cloth of red and beige jacquard weave, tied together by a plain beige rag; a pair of canes, wrapped in beige and red thread are tied to the figure by a woven band. 1 251/Pl.110 and 454/Pl.112 were also originally wrapped in textiles (Seler 1893: Tafel 12.8, 12.7); 443/Pl.111 is depicted wearing a wide sash in a checkerboard design (Seler 1893: Tafel 13.6). A figurine 2 from the Hamburg Museum (HMV B 1075 – Fig. 77) wears a basket-work headdress in herring-bone weave, fastened with red, white and blue thread, into which are stuck some feathers; black thread showing under the cap at the back may represent hair. A beige and white undershirt, with cotton shoulder-straps, has a plain beige edge with white painted fish. A fine tapestry apron with pendant triangles also shows fish designs and is attached to the body by a red, yellow, grey and brown faja. Necklace: 18 figurines wear a modelled necklace; on 11 specimens it Fig, 77 is tied at the back, with one to three ends dangling (e.g. 521/Pl.111). On nine figurines (probably all from the Ancón area) the necklace is incised with a broken-lineand-dot design, on some also painted white; other designs include circles (417/Pl.110) or small holes (1342/Pl.112), chevrons (250/Pl.112), steps and meanders (244/Pl.112), plain on 1346/Pl.112. 2189 wears two rows of platelets, attached at the back, with dangling ends. 454/Pl.112 only has a painted band; 522/Pl.111, 246/Pl.112 have a plaited textile band attached around the neck. Ear-plugs: 18 figurines wear circular ear-plugs, either fitting into the ear (e.g. 252/Pl.110, 244/Pl.112) or more often hanging from the lobe (e.g. 251/Pl.110), sometimes placed very low (e.g. 1145, 1347/Pl.112, 523/Pl.113). They are decorated with incised or painted variants of the cross-and-dot design (e.g. 252/Pl.110, 239/Pl.112), or divided into sections radiating from a central point, also decorated with dots (e.g. 623/Pl.110), plain incisions towards outer edge (523/Pl.113), small painted circles around a central circle (97/Pl.113), plain (1346/Pl.112). The very large ear-plugs on 244 have a complex design (see above, Fig. 74). Manufacture: The majority of the figurines are hand-made, though some of them may have mold-made parts (head, limbs?). All the figurines are hollow, with air-holes varying widely in Earlier photographs (Schuler-Schömig 1984:fig.8a,b) show that the figurine was originally fully clothed. 2 This figurine with extended arms was not included in the study because its surface is very damaged: it had entered the collection before 1870. 1

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numbers—some specimens have as many as eight—and position (see Table 52). A typical airhole location is at the shoulders or neck. The decorative elements are modelled, incised or painted. A wide variety of wares are used, from the beautifully polished and slipped Incarelated orange ware, with a black, white and sometimes red decor, or black ware with red and white post-fired incrustations, to unslipped monochrome red ware. LH SUB-GROUP 1.2: FIGURINES MADE OF ONE FRONTAL MOLD

Sub-Group 1.2A: Figurines made of a frontal mold and hand-made back, hollow Sub-Group 1.2B: Figurines made of a frontal mold only, solid Sub-Group 1.2C: Miniature figurines made of a frontal mold only, solid The three sub-groups are very similar, except for the position of the arms and size, and are described together. Table 53 Plates 113-115 Sample: Sgr. 1.2A: 11 Figurines (examined all) ) Sgr. 1.2B: 29 Figurines + 2 atypical (examined 30) ) Overall total: 56 Sgr. 1.2C: 14 Figurines (examined 13) ) Measurements: Maximum Minimum Median Sub-group 1.2A Height (11) 34.2 cm 18.4 cm 25.5 cm Width (9) 22.0 cm 8.2 cm 12.5 cm Thickness (10) 8.5 cm 4.2 cm 6.5 cm Weight (9) 1540 gr. 320 gr. 830 gr. Sub-group 1.2B Height (26) 26.6 cm 12.6 cm 19.5 cm Width (22) 11.2 cm 5.9 cm 8.8 cm Thickness (23) 6.8 cm 2.6 cm 3.9 cm Weight (21) 980 gr. 140 gr. 420 gr. Sub-group 1.2C Height (12) 6.0 cm 3.1 cm 5.3 cm Width (12) 3.1 cm 1.5 cm 2.5 cm Thickness (13) 1.8 cm 0.9 cm 1.4 cm Weight (6) 40 gr. 10 gr. 20 gr. GROUP CHARACTERISTICS

Basically we are dealing here with the same standing figurine type as in sgr. LH 1.1, although the figurines overall are considerably smaller and the extended arms have all but disappeared. Head: Mostly fairly high (between one third and one fifth of total height), rectangular or widening upwards, with a straight or very slightly rounded crown, obviously representing a headdress. A few specimens have an exceptionally high (e.g. 166/Pl.115), wide (e.g. 458/Pl.113) or low headdress (2095/Pl.116). In profile the back of the head is obviously flat, the crown sometimes forming a flat ledge (e.g. 570/Pl.113). Face: Fairly naturalistic proportions, minimal modelling; incised nose-to-chin lines are common, but face-paint is generally absent, except on 6/Pl.115, with traces of "Chancay specs" as well as a hook, painted on the nose (similar to 239/sg. 1.1A, see Fig.73 above) and unusual outlining of the eyes (278/Pl.114, P589, 1362/Pl.115). Eyebrows: The majority have typical thick arched eyebrows, either molded (e.g. 1696/Pl. 114), incised (e.g. 278/Pl.114) or "undercut" (e.g. 458, 1608/Pl.113). Eyes: Mostly large, elliptic to nearly circular (cf. 570/Pl.113 with 278/Pl.114), with molded lids and eyeballs; note the incised eyes on 455, 2095/Pl.116). Nose: Often straight, quite long (e.g. 570/Pl.113); over 30% have nostrils and alae. Mouth: The great majority have molded lips, sometimes leaving an open space (e.g. 857, 93/Pl.113). Ears: Often quite naturalistic, with or without ear-plugs (e.g. 857, 458/Pl.113); often pierced. Chin: Oval, never protruding. Neck: Short, only shown in front. Body: Generally elongated, narrow, wider at the shoulders or elbows, tapering towards the

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feet, with fairly straight sides; a number of specimens have emphasised shoulders, projecting forward (e.g. 458/Pl.113, 860/Pl.114). The profile is narrow, with a flat back, only slightly thicker on the hollow specimens (e.g. 1816, 506a/Pl.113). Arms: Extended on four figurines (570, 856, 857/Pl.113, 346/Pl.114), otherwise folded above the waist, horizontally (50%) or upwards on the chest 50% (e.g. 93/Pl.113, 6/Pl.115), hands mostly show four or five molded or incised fingers. Legs: Only three figurines have completely separate legs, a further six are joined at the feet; the rest have straight conjoined legs; knees are rarely shown (e.g. 1608/Pl.113, 860/Pl.114); feet are small, stylised, often rounded upwards at the back (e.g. 1309/Pl.115), with four or five incised toes; 1311/Pl.115 is sitting with legs extended forwards.. Genitals: All the figurines are female, with a raised, often outlined genital triangle, generally with two incisions at the waist (exceptions: one incision on 2010, 1511/ Pl.114, 1362, 386/Pl.115, and some of the miniatures/Pl.116). The vulva can be simply shown by an incision or by a more complex design, probably representing the clitoris (e.g. 570/Pl.113, 860, 861/Pl.114). Breasts: occur on the majority (570/Pl.113 has hanging breasts), the nipples are punctated on nine or more specimens (e.g. 860, 861, 278/Pl.114). Umbilicus: Shown on around 20%; normally a depression, but can be an incised circle (e.g. 570/Pl.113) or a small punctation (e.g. 860/Pl.114). Back: Generally flat and featureless. Exceptions: 93/Pl.113 has a groove along the spine, 1362/Pl.115 has a painted necklace with four hanging strings; 1631/Pl.115 has an incised line at the neck and waist. Clothing, accessories: Headdress: All the figurines wear a headdress. The shape is mostly rectangular or slightly widening upwards, with a flat or slightly rounded top; it varies markedly in height (cf. 458/Pl.113 or 166/Pl.115 with 570/Pl.113); a few figurines wear a flat "toque" (277/Pl.114, 2095/Pl.116), in some cases with vertical elements at the sides (345, 274/Pl.114), which can project above the top (1198, 344/Pl.114, P590, 1654/Pl.116). The headdress is plain on 40 specimens (71%); the rest have a decorative border (1523/Pl.113, 1511/ Pl.114, 1130/Pl.115, 1684, 455, 383, 1171/Pl.116), also combined with vertical elements). 19 specimens (34 %) have perforations through the headdress. Four figurines have three perforations (1523/Pl.113, 1631, 383, 1422/Pl.116); 12 figurines have four perforations, in italics those with two sets of two (1816, 458, 1608, 506a/Pl.113, 346, 2010, 420, 1511/Pl.114, 6, 386, 418, 182/Pl.115; 570/Pl.113 has five holes, 1343/Pl.113 has six holes with braids attached to them, 278/Pl.114 has ten holes. Clothing: Never depicted. 182/Pl.115 is wrapped in cotton wool, 1618, a miniature, in a loosely woven cotton textile. According to a note by Dr. Bastian 420/Pl.114 was originally dressed and carried an embroidered bag. 182/Pl.,115 carries sticks with thread wound around them. Necklace: All the figurines in sgs. 1.2A,B (except 570/Pl.113, 277/Pl.114 and 1520/Pl.115) and probably most of the miniatures (sg.1.2.C), wear a fairly bulky necklace. It can be plain (e.g. 1343/Pl.113) or incised with various decorative motifs: broken lines, either simple or multiple, with or without one or several filler dots (e.g. 506a/Pl.113, 224/Pl.114, etc.), punctations (e.g. 346, 420/Pl.114), incised circles (274/P.114), diagonal lines and dots, probably representing several twisted rows of beads (278/Pl.114, P589/Pl.115), chevrons (345/Pl.114) or two rows of rectangular beads (857, 858/Pl.113, 860, 861/Pl.114, 6/Pl.115). In addition 182 and 166/Pl.115 wear a shell necklace, with a small figurine attached on 166 1 (see Fig. 78). Ear-plugs: 27 figurines (50%) wear ear-plugs, generally circular disks, varying in size from studs attached to the lobes (e.g. Fig, 78 1048/Pl.113, 420, 224/Pl.114) to large plugs entirely covering the ears (e.g. 506a/Pl.113, 344, 345/Pl.114). The smaller studs usually have small dots or circles around the edges; on the larger plugs the most common decor is concentric circles, (exceptions: P589/Pl.115 has large plugs with dots placed in a circle around a central dot; 1

A ticket attached to 166 states: "Necklace added later" (my translation). 298

6/Pl.115 has an incised cross, with a dot in each field, 274/Pl.114 has concentric circles decorated with dots). Manufacture: Although the whole of sg. 1.2 is made using only a frontal mold, sgr. 1.2A is hollow, with a featureless, hand-made back, and air-holes, either only through the chest or in a variety of locations, like the ears, the mouth, the vulva etc. Sgrs. 1.2B and C are solid, but 93% have perforations through the chest (at shoulder- or armpit level). The ware of the three sub-groups is fairly similar, i.e. usually an unslipped terracotta background—of various hues, from buff to brown—with patchy white decor; eight figurines 1 are in black ware with white and red post-fired "incrustations". Atypical (sg. 1.2B): 2384: With its rectangular head, folded arms, legs joined at the feet by a "bridge" and its plain, flat back, this specimen is closely related to LH 1.2B, except that it is entirely handmade. Note also the prominent chin. It must have been found with the similar 2385/LH Gr.2 (atypical). 467: Included here as it appears to be made, at least partly, with one frontal mold and is solid. though with incised arms showing at the back. But the very low headdress with one perforation, and the elongated face, with a large rounded nose starting high up on the forehead, are very different; the eyes and mouth are reminiscent of the "Specials" in LH Gr.3, though these have an elongated head. The upper body, especially the rounded shoulders, folded arms and small nipples are similar to this sub-group, but the rounded "hips" and separate legs less so. DISCUSSION (LH SGS. 1.1 AND 1.2) Having attempted to outline an Ychsma figurine style by grouping all the figurines dating to the LIP and the LH with a provenance from the Rimac and Lurín valleys (see Chapter 10), and having previously described in detail the Chancay figurine style, dating mainly to the LIP, but probably also surviving into the LH (see Chapter 9), we now have to deal with 93 figurines, which—although 55 have provenances (32 "certain" or "fairly reliable") from the former Chancay heartland (i.e. the Chancay, Huaura and Chillón valleys and Ancón)—are definitely no longer of the Chancay pottery style, whilst the remaining 38 have no documented provenances, but share many of the features which we have identified as Chancay or as Ychsma. The admixture of these two stylistic strands is clearly apparent in the LH figurines, combining in specific ways, which probably point to local sub-styles. When listing the figurines, the point of departure has been either the provenance, where available, or similarities with Chancay, where no provenances where available. Special features / Links with other groups • Chancay features: Extended arms is a feature which only occurs on very few early Ychsma figurines. These are still standard in sg. LH 1.1A, but in many cases already very short (practically reduced to the hands only) and/or extended forward, a variant which also occurs on LH vessels (see Ravines and Stothert 1976: sp. An 04/76). Apart from the 18 figurines in sg. 1.1A, there are only three in sg. 1.2A, one in sg. 1.2B and none in sg. 1.2C. Interestingly, the small figurine attached to the necklace of 166/Sg.1.2B/Pl.115 (see above Fig. 76) has extended arms! The typical Chancay headdress in its three aspects: the shape, the decorated head-band and the holes along the top. Although we still find one or the of these elements, all three never occur together. In sg. 1.1A for instance: the headdress of 252/Pl.111 has a Chancay shape and an (unusually) large number of holes, but no head-band; 623, 251/Pl.110, 205/Pl.111 have a Chancay shape, but neither head-band nor holes; 2189/Pl.112 has the right shape, the holes and an incised head-band, but the latter is untypically wide; all the other figurines wear headdresses with the wrong shape and/or lacking a head-band and/or holes. The same can be said of all the other sub-groups: note the very high or very low headdresses (458, 506a/Pl.113, 1

This includes P589/Pl.115, for which colours are not given in Schmidt 1929:256. 299

166/Pl.115 and 570/Pl.113, 277/Pl.114, 2095/Pl.116). What seems to survive most frequently is the shape combined with holes (e.g. 1343/Pl.113, 2010/Pl.114, 6/Pl.115, etc) along altogether new shapes (1347/Pl.112, 97/Pl. 113, 1198, 274/Pl.114, 1130/Pl.115 etc). Blackware figurines with post-fired incrustations in white, red: there are altogether eight such figurines in sgs. 1.1 and 1.2. They are closely related to Chancay sg. 1.6.2C/Pl.79 and could arguably have been included there, especially as the Chancay specimens are also made with one mold (or hand-made) and solid. However those all have extended arms and a typical Chancay headdress. So I decided to include the sample here in the LH group. The explicit representation of the clitoris first makes its appearance on "Baroque" Chancay figurines (Sg. 1.4.3) and thereafter often appears on Ychsma and LH specimens. Note that the typical Chancay face paint (specs, lower cheek decor) has completely disappeared. • Ychsma features (as outlined under Ychsma Group 2/Discussion in Chapter 10) – though they could also be general LH features which also appear in Late Ychsma figurines: Arched semi-circular eye-brows, which can be molded 543/Pl.111, painted (239/Pl.112), incised (278/Pl. 114), under- or over cut in relation to the forehead (e.g. 458, 1608/Pl.113 or P590/Pl.116); Pronounced, modelled shoulders (e.g. 458, 506a/Pl.113, 1198, 860, 1696/Pl.114, etc.) Punctated breasts (e.g. 860, 1696, 278/Pl.114, 1309/Pl.115). Double incision at the waist (part of genital triangle) Perforations through the upper chest (solid figurines) The most remarkable features are the elaborate adornments (headdress, necklace, earplugs) worn by some of the figurines: 244/Pl.112, wrongly said to come from Chimbote 1, as well as 1198, with an uncertain site attribution to "Supe Huacho", 344, 345 and 274 attributed to "Ancón?"/Pl.114 and P590/Pl.116 from a grave in Ancón. These are undoubtedly Ychsma in style, but have been included here to show that during the LH, Ychsma figurines may have expanded to other areas—as in the case of P590 found in Ancón. Certainly some of their adornments—in particular the omnipresent bulky necklace and the disk ear-plugs—become quasi universal during the LH (see "Descriptions" above, for details). The headdress is less frequently copied: all the above mentioned figurines except 244?Pl.112 wear a rectangular head-dress with two vertical elements at the sides of the headdress. On 244, the cap shows incised fish facing each other in an upper field, bordered by a band with incised meanders; a unique feature are two bands—in three sections and ending in fringes, here attached to the headdress and hanging down on the chest, whilst usually on Ychsma figurines the bands are attached to the ear-plugs (2333/Pl.103, 1750, M42/Pl.106 from Pachacamac, PV18, PV43/Pl.108 from Pueblo Viejo, 258/Pl.110). Uhle excavated a face-neck wearing a related headdress at Pachacamac (Uhle 1903: fig.81). Another elaborate Ychsma headdress type, has a low cap (97/Pl.113) and often two lateral vertical elements projecting or not above it ( 1198, 344, 345, 274/Pl.114). Both the cap and the vertical elements are adorned with incised designs. On the LH specimens the design on the low cap is: "meanders" (97), two horizontal bands of a variant of "broken lines" (1198) "multiple broken lines" (344), diagonally "nested squares" (345), two horizontal bands, one with "multiple broken lines", the other with diagonally "nested squares" (274). Uhle excavated a face-neck with such a head-dress in the Inca section to the N/W of Pachacamac (Fig. 79: UPMP 31750). Fig. 79

Regarding the unlikely provenance from Chimbote: this is given to no fewer than 13 figurines— ranging from typical Huaura and Chancay figurines and LH-CC figurines to SC specimens—by six different museum (two in Germany, four in the USA), but at different times. It is possible that Chimbote being a port the figurines were acquired there by travellers.

1

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A remarkable face-neck (Fig. 80: MVM G 828) wears a combination of the latter headdress and the ear-plugs with hanging appendages and shows many of the typical Late Horizon traits, which we have noted on the figurines: thick, semi-circular painted eyebrows, face-paint across the lower part of the face, pendulous breasts with punctated nipples. One assumes that such adornments were worn by high-status individuals, but since this head-dress only occurs on the Central Coast, it was probably worn by the local elite rather than the Inca overlords. Large ear-plugs are usually thought to be the prerogative of men, but the wearers here are clearly women 1. This representation could be the Diosa de Pachacamac, which according to A. Bueno (personal communication) was the object of a popular cult at the time. Fig. 80 • New Late Horizon features: The nose of the carefully made 239/Pl.112, as well as 246/Pl.112 and 6/Pl.115, is adorned with a line drawing in the shape of a hook (see above Fig.75); this also occurs on a Late Horizon face-neck, allegedly from Ancón (Fig. 81: MVV 5941). Note also the same treatment (as 239) of the eye-brows and eyes and the folded arms outlined in paint. Several figures in sgs,1.1A and B (1632, 1299, 443/Pl.111, 454/Pl.112) have a lighter coloured body in front and a darker head and back, with a clear dividing line running along the sides of the body. A ceramic "bridge" linking the feet on larger specimens: this feature does not appear in Chancay, even on late cuchimilcos, and only occurs on one Ychsma figurine, dating to the LH (258/Pl.110). Here we see it on 26 of all the standing figurines in sgs. 1.1A,B (77 %); the Fig. 81 situation in sgs. 1.2A-C is different as many legs are conjoined.. • Miscellaneous features 520/Pl.113/sg. 1.1A,B) is the only smiling figurine in the whole study. 1311/Pl.115/sg. 1.2B is the only late sitting figurine with extended legs, normally an early feature. The atypical 467/Pl.115/Sgr. 1.2B shares features with LIP and LH South Coast figurines, namely the straight section on the inner side of the legs and the incisions marking the arms at the back. It is possible that 467 comes from a valley between the Central and South Coast, like Cañete? Context It is likely that the majority of the figurines, many of which come from old collections at the EMB, HMV, MVM etc. were found in graves. Seven figurines have documented gravelots: 879/Pl.113, the pairs of identical specimens 857/858/Pl.113 and 860/861/Pl.114, 1048/Pl.113, P590/Pl.116 (see Appendix 3). Note that of 879 only fragments of the head and the lower legs were preserved, but both were carefully buried! In addition 2010/Pl.114 from Uhle’s Site T at Ancón was found below a midden layer without association (Uhle n.d.: vol. VII, p.20). 443/Pl.111/sg.1.1A was found with a small copper plate, wrapped in a wad of cotton placed in its open mouth; another cotton wad was placed in the anus. As there are many instances in pre-Columbian Peru, where a human burial has a metal plaque placed in its mouth, Schuler-Schömig (1984:158ff) suggests that the figurine functioned as the replacement of a real person, accompanying the deceased in his grave.

Lilien (1956:254) who obviously had not seen 244, wrongly assumes that the similar 1750/Pl.106 (AMNH 41.1.8991) from Pachacamac. is the figure of a man.

1

301

Geographic Distribution Sub-group 1.1 Certain Fairly reliable Unverifiable Sub-group 1.2 Certain Fairly reliable Unverifiable

Huaura

Chancay

Ancón

Chillón

1 1?

2 2 + 2?

4 3 5 + 2?

2 1

1 1

3 1

7 4 + 4?

Rimac

Lurín

See Ychsma Chapter 10

10 11

This geographic distribution, which such a scarcity of figurines from Huaura and Chancay probably shows that: a) some black-on-white figurines continued to be produced in the Chancay heartland during the Late Horizon: they have been included in the Chancay sample (Chancay phase 4); b) some red- and black ware figurines with late features, were also assigned to the Chancay culture (see Chancay groups 1.6 and 6), though the red-ware specimens may have been influenced by Ychsma (see for instance the Associated specimens/Chancay sg.1.6.1A/Pl.76); c) one unusual aspect of this distribution is that so many LH figurines come from the Rimac and Lurín valleys, a rare phenomenon in previous Central Coast groups, and for which there is no ready explanation. It is possible that figurines became more popular in Rimac and Lurín during the LH, because of the closer contacts with the Chillón and Ancón areas. At the same time the large number of non-Chancay figurines in the Ancón/Chillón area shows that this region was no longer under direct Chancay influence, a trend which starts towards the end of the Late Intermediate Period; d) the overwhelmingly large proportion of figurines dated to YTard B, i.e. to the LH, in the Ychsma sample (see Chapter 10), shows that that style, having absorbed the various influences from the northern area, dominates the Central Coast during the LH. Chronology Starting with figurines from gravelots with associated pottery, it is obvious that all the vessels belong to the typical local Late Horizon ceramic style, also found associated with typical Inca pottery. Face-necks like P.6608 (found with 879/sg.1.1 in Ancón 1 grave T.472), P.5184 (found with 860,8 61/sg.1.2 in A1/T.362), those found with P590, or arybaloïd jars like P.5824 (found with 1048 in A1/T.422) date unmistakably to the Late Horizon. A variety of scientific ceramic tests carried out in Berlin on the Reiss and Stübel collection from Ancón have shown that the Inca material forms a fairly discreet group. 239 falls into that group (Haas 1986: 85, 311). To conclude: the numerous stylistic elements shared by the figurines in this group with Late Horizon vessels clearly date them to the Late Horizon. Some of these features are (cf. face-necks illustrated above, in Appendix 3 and in publications referred to): • large arched eye-brows and modelled almond-shaped eyes with dark pupils outlined in a lighter colour, or • incised eyes without eye-brows; • very short arms projecting forward, or • folded arms, sometimes outlined in a different colour 2; • similar headdresses and ear-plugs (but not necklaces, which are rarely shown on face-necks). Other typical Late Horizon traits, but which only occur on figurines are: 1460/LH 1.2/Pl.115 is said by Uhle to come from "Caudivilla, Valley of Lima" (spelt Caudavilla by Lilien (1956: Table 22): to my knowledge there is a Caudevilla in the lower Chillón Valley. 2 Extended versus folded arms are not a reliable criterion for dating, because extended arms—though no longer universal as in classic Chancay—can survive in the former Chancay culture area, also on facenecks. 1

302

• a double incision at the waist; • a naturalistic representation of the genitals, often showing the clitoris. LH GROUP 2: LATE HORIZON FIGURINES WITH ELONGATED HEAD Table 54 Plate 116 Sample: 7 figurines + 2 atypical (examined all) Measurements: Height between 17.4 cm and 4.6 cm (sitting), width between 8.0 cm and 2.3 cm, thickness between 3.0 cm and 1.7 cm, weight between 360 gr. and 25 gr. GROUP CHARACTERISTICS

Five figurines are standing 1, two are sitting. Head: Large, about one third of the total height; elongated, with a pointed crown, typical for the deformación por llautu; flat in profile, because of the one-mold manufacturing technique; 1875 has incised hair? 1873 wears a headdress. Face: normal to narrow, little modelling; no face-paint; incised nose-to-chin lines on 1875, 285, 2124. Eyebrows: arched: modelled (1875, 395), incised (276, 285) absent (1712, 2124, 1873). Eyes: mostly large, nearly circular (elliptic on 276, 395), with modelled lids and eye-balls. Nose: can be fairly large, pointed (e.g. 1712); nostrils and/or alae are common. Mouth: modelled lips on 1712, 2124, otherwise a simple incision. Ears: can be fairly large "flaps" with or without perforations (2124, 395, 1873) or hidden by ear-plugs (1712, 1875, 276, 285). Chin: mostly oval; jutting on 1712, otherwise resting on the chest (e.g. 1875). Neck: shown in front only. Body: varies greatly from wide (395, with broad shoulders 1712, 2124), normal (276, 1873) to very narrow (1875). Arms: extended, very short on 395, folded upwards with hands at shoulder level on 285 2, folded upwards on the chest (1712, 2124, 1873), horizontally at the waist (1875, 276); hands indicated by incised fingers. Legs: conjoined on the standing specimens, including 285, (exception 1712, joined by a “bridge” at the feet); the sitting specimens have folded legs; both types have small feet, with incised toes on 1712, 1875. Genitals: All the specimens (except 1873?) are female, with a raised and/or incised genital triangle (two incisions at the waist on 1712, 1875, 2124) and vulva (clitoris on 1712); the sitting 1873 has an incision at the waist and a slight protuberance in the genital area, so it could represent a male. Breasts: Shown on 1712, 1875 (punctated on 1712). Umbilicus: shown on 1873. Back: mostly plain, flat. Exceptions: necklace ties (1712), incised hair (1875). Clothing, accessories: Headdress: only worn by 1873, consisting of a cap or turban with horizontal bands; two perforations at the top of the head on 1712 may also indicate a headdress? 1875 appears to have incised hair. Clothing: not worn, 276 has a cotton string wrapped around the neck. Necklace: Worn by all, except 1875: bulky with incised broken-line-and-dot design (1712), bulky, plain (276, 395), thin, V-shaped (1873). Ear-plugs: Worn by all except 395, 1873; large, circular, with punctations (1712, 1875); smaller (276, 285, 2214). Manufacture: All the figurines appear to be made with one frontal mold, the back being hand-made. (Exceptions: on1712 the back may also be mold-made, though the figurine is solid; 2124 is possibly entirely hand-made). All the specimens are solid, but have the usual front-to-back perforations at the shoulders (exception: 1873). The ware is terracotta, with a white slip on 395; 276, 285 are in reduced-fired ware with a self slip. Atypical: 2385: This crudely hand-made figurine is included here because of its elongated head; the arched eye-brows, folded arms and legs linked at the feet are typical for the LH. Differences include the appliquéd eyes and mouth and the lack of genitals; the back is plain. Hand-made, with a damaged surface, reddish ware. Has a string attached at the neck. It is likely that the figurine was found with the atypical 2384/Pl.115/LH1.2B: they are both hand-made, in a similar ware, come from the MAM, and their accession numbers are close. 1 2

Including 285, which was broken in the museum: the original catalogue entry shows it is standing. As seen in the catalogue drawing, before the figurine was broken. 303

1874: Unusual specimen with elongated but rounded head; unusual headdress, decorated with a plain band in front and double band with fringe (or hair?) at the back; the folded arms and hands with molded fingers hold a broken tubular object (unidentified) at waist level; conjoined legs, molded feet; no genitals or breasts; the back features a groove down the spine and modelled buttocks. It is not clear whether the solid figurine is hand- or mold-made; the surface is light brown and there is turquoise-coloured post-fired pigment in the incisions. DISCUSSION

Links with other groups This group is related to Chancay Group 2, which also features the deformación por llautu normally found in the Sierra (see Chapter 9). But apart from the elongated head, the figurines no longer show associated features, like a load or child carried on the back, large tupos or a wide belt. The same can be said of the handful of Ychsma figurines with elongated head, the only exception being an early Ychsma specimen, very probably from the Rimac valley, carrying a child on its back (2345/Pl.103). Interestingly, there are no face-necks similar to LH Group 2, whilst there are many examples similar to LH Group 1 figurines: this probably indicates that the personage with elongated head has lost its significance in the Late Horizon. Special features 1712, a solid specimen said to come from the Huacho area, has a ceramic “bridge” between the feet and a necklace with hanging ties at the back, features typical for the hollow LH figurines (sgs. 1.1A, B/Pls. 110-112) and for some Ychsma figurines (e.g.1773/Pl.104, from Armatambo). The atypical 1874 may be a fake: the head and body look mold-made, but the arms are applied. It features marked joins down the sides, though it is solid, with no air-holes. The surface colour (slip?) is an unusual tan and some turquoise powdery pigment has been rubbed into the cracks, as if to imitate metal corrosion. Context: No documented context. Geographic distribution: The only one (fairly reliable) provenance is from Huacho. Note that not a single specimen with elongated head comes from the Chillón Valley: the same also applies for Chancay Gr. 2. Nor is this type found at Pachacamac, though there are a couple of specimens with elongated head from Pueblo Viejo, Lurín Valley (PV84, PV100/Pl.108). Chronology This group can be satisfactorily dated to the Late Horizon through common features with Late Horizon Group 1 and the criteria listed there. GROUP 3: LATE HORIZON SUB-GROUP

"SPECIALS"

3.1: FIVE VERY UNUSUAL BUT SIMILAR FIGURINES

Table 55 Plate 117 Sample: 5 figurines (examined all) Measurements: Maximum Height (5) 22.7 cm Width (5) 8.5 cm Thickness (4) 5.9 cm Weight (3) 335 gr.

Minimum 18.5 cm 6.9 cm 4.5 cm 250 gr.

Median 22.0 cm 7.8 cm

DESCRIPTION

Medium-sized standing figurines. The head is rounded to slightly elongated, but naturalistic; on 1133 it is totally undeformed, whilst 187, 1452 and 2393, made of one (frontal) mold only, are flat 1. The face has normal proportions, with some modelling of the eye-sockets, cheeks and mouth area; no face-paint. Thick, arched eyebrows are only visible on 40, on the others there seems to be like a thick additional lid, surrounding the whole eye; the 1

The profile of 40 was not recorded. 304

eye itself is very large, with molded lids and eye-balls; nose: straight (1133) or slightly hooked (1452), lifelike, though neither nostrils or alae are shown; mouth: straight with modelled, half-opened lips; ears: large, naturalistic; chin: oval, slightly thickened at the tip but not jutting; neck: normal. The body is very realistic, fairly narrow, with shoulders of normal width, but emphasized; straightish sides, protruding lower abdomen. In profile 1133 and 40 have protruding buttocks, whilst the others are flat (made of one frontal mold only). Arms: slightly asymmetrical, folded above the waist; modelled hands with five fingers (except 40). Legs: completely separated (1133, 40) or conjoined, with a very wide crotch, unusually thin but quite lifelike, with some modelling of the knees and tapering towards very small feet, no toes. Genitals: all five specimens have a raised genital area, a female characteristic, with a double incision at the waist on 187, 1452, 2393, but 40 and 1452 are clearly males, with appliquéd testicles and penis (broken on 40, erect on 1452), 2393 is female, with an incised vagina, 187 has a small appliquéd protuberance in the genital area, which could be a penis or a clitoris, 1133 has no indication of sex. Breasts: All have nipples, placed rather low, punctated on 1452. Umbilicus: not shown. Back: realistic modelling on 1133 (40?); no features on 187, 1452: the hollowed out frontal mold is visible, 2353 has a similar, but smaller depression at the center. Clothing, accessories: No head-dress, clothing or ear-plugs worn, but all wear a bulky double necklace (some beads are visible on 1452). Manufacture: 1133 and 40 are probably made wit two molds, but they are solid and lack airholes; the remaining specimens are made with a frontal mold, but the back is not filled-in and smoothed as normal. The ware is oxidised, but the smoothed surface is covered with a "substance" (not a slip), the resulting colour being grey, buff or brown. DISCUSSION

Although these five figurines have some typical Late Horizon features (large modelled eyes and possibly arched eye-brows in two specimens, shape of the nose, emphasised shoulders, double incision at the waist, bulky necklace, as well as the one frontal mold manufacture) there are a number of other features which are so unusual that each time I came across one such specimen—in different museums!—I noted “fake?” in my notes, only realising later that I had recorded five similar figurines. These unusual features are: • Shape of the head, showing no deformation, clearly visible in the profile of 1133; • Male genitals (187, 1452), rare on the Central Coast, except in some Huaura and Chancay-Huaura groups, and never shown on typical Late Horizon figurines (Groups 1, 2); • Bulging lower abdomen; • All five figurines have a slightly crushed left arm! • Realistic modelling of the legs; • Two-mould figurines (1133, 40?), possibly hollow, but without airholes: this can happen, but rarely. • Frontal-mold figurines (187, 1452, 2393) with unfinished (i.e. not filled-in) back; • Surface treatment (dirtied on purpose?): the paste does not look reduced-fired. Another curious feature is the similarity between two pairs, 1133/ 40 and 187/1452: both pairs have very similar sizes and similar asymmetric arms. In fact each pair could have been made from the same mold. We have seen that figurines made from the same mold can be found together, but here the figurines are of different sexes: no other males occur in Late Horizon groups. They also lack other gender differentiating attributes, such as a headdress or body-paint, as in Huaura and Chancay-Huaura groups. Interestingly at least three of the figurines come from old collections: the Manchester specimen (1133) from a collection made in Peru between 1860 and 1900, the Hamburg and Smithsonian figurines (187, 1452) were acquired by the museums before 1879 and 1887 respectively. The British Museum figurine was donated in 1927 by a Mrs. J.E Birch (no other 305

data made available). However 19th century fakes are not unknown in Peru, in particular of easily produced objects: there are some fake Chimu figurines in various museums and several small fake metal Inca figurines at the Vienna museum. In this particular case one of the molds may well have been original—although the shape of the head is very unusual—but somewhat modified, for instance by applying male genitals. A second mold may have been made to match the first. Another possibility is that these figurines were produced in the early colonial period, when practices such as cranial deformation were disappearing and attributes such as the sex of the divinity or mythical personage represented was slowly being forgotten. This second possibility must also be considered, in view of a few other unusual specimens (see sub-group 3.2) Context: No data. Geographic distribution: 1452 is said to come from Ancón (unverifiable). Chronology: If the figurines are genuine, they can only date to the LH (because of the various characteristic features listed above) or the early colonial period. SUB-GROUP

3.2: MISCELLANEOUS FIGURINES

Table 54 Plate 117 Sample: 2 figurines (examined) Measurements: See Table DESCRIPTION

1050: Figurine with a slightly pointed head, tilted backwards, with long incised hair showing in the back. Face with deep lines around the mouth and a pointed, jutting chin. Large molded arched eye-brows, prominent, almond-shaped eyes with modelled lids; large, pointed nose, no nostrils or alae; mouth with thick, modelled lips; big realistic ears; jutting chin; very long neck. Narrow shoulders, long, narrow body bulging around the waist, tapering towards the legs, leaning slightly backwards. The appliquéd arms are folded over the abdomen, the hands have five incised fingers; the completely separated, cylindrical legs are fairly short, thick, with some modelling of the knees; very small feet, with incised toes. The female genitals are indicated by an incised genital triangle (thin double incisions at the waist and crotch) and a slit for the vulva; prominent nipples. A similar triangular incision with slit is also indicates the buttocks. No clothes or ornaments are worn, but the figurine carries an object (broken off) on its back, attached to a rope going across the shoulders at the front. The figurine is hand-made, with an incised decor, hollow but with no air-holes, except for the hole linked to the broken object at the back. Possibly it was part of a double vessel, but it is unlikely, because double vessels are not known for that time and area. The ware is reducedfired, grey. 1705: Restored figurine, with the head, right arm and part of the body probably original. The head is rounded, undeformed (also in profile). The short face has lines around the mouth and a jutting chin. Thick, arched eye-brows, large eyes, small nose, modelled lips, large ears, short neck. The (largely reconstructed?) body has broad shoulders, straight sides and a straight profile. Arms detached from the body, the left arm hanging down the side, the much longer right arm holding a thick club or staff. The legs are separated, cylindrical, with rounded feet and incised toes. There is an incision at the waist, but not down the groin; a large protuberance in the lower abdomen may indicate male genitals covered by clothing. No nipples, no umbilicus. No features in the back. No clothing or ornaments. The head may be mold-made, hollow, with traces of a buff slip. The reconstructed part is hand-made, probably solid, painted brown. Although it is obvious that these specimens come from the Central Coast and that they must date to the end of the Late Horizon or early colonial times, there are few actual features linking them to typical CC-LH (Groups 1, 2), apart from the arched eye-brows, large eyes, modelled lips and large ears; note that 1705 has an undeformed head, like 1133, in sub-group

306

3.1 (above). 1050 shares a feature with late Chancay figurines (e.g. 413/1.6.1, 777/1.6.2B) namely the incised triangle outlining the buttocks, mirroring the genital triangle in front. The incised hair is a rare feature: it occurs on a late Chancay specimen (e.g.1866/1.5.2B/Pl.73), and on LH figurines (510/Pl.100/LIP-LH Unaffiliated, 1875/LH 2), but it is very common on Inca metal figurines. Context and Geographic distribution: No data. Chronology; The links with other groups above clearly show that we are dealing with very late figurines, made in the Late Horizon or even in early colonial times. THE LATE HORIZON FIGURINES : SYNOPSIS

For this overall view, we must also bear in mind the Chancay phase 4 specimens discussed in Chapter 9 and the Ychsma figurines belonging to Ychsma Tardio B in Chapter 10: both form part of the LH figurines on the Central Coast. Although the changes in the figurine material during the Late Horizon are easily recognizable, one cannot speak of a radical break with the earlier traditions. The emerging style is certainly local in origin, without any outside (Inca?) admixtures. It is obviously influenced by Chancay iconography and probably by innovations introduced by the Ychsma figurine style. Although—for the time being—we cannot identify a specific Ychsma figurine style for most of the LIP in the Rimac and Lurín valleys, towards the end of the LIP and the beginning of the LH (the Ychsma Tardio A and B phases) the innovations originating in that area of the Central Coast are clearly felt. Taking Chancay-related traits as a starting point for the seriation of both sub-groups LH 1.1A, B and LH1.2A,B and comparing them with Ychsma features, the figurines tend to fit into a regional pattern and differences emerge between the northern and southern areas. In the north (Chancay to Chillón), the resemblance with the Chancay style can still be felt in LH 1.1A (Pls.110, 111), in the overall shape of the figurines, the occurrence of extended arms and the survival of hollow figurines, a Chancay manufacturing technique. But note that now the air-holes are no longer at the waist, as they always were on Chancay cuchimilcos, but mostly at the shoulders and in other locations. In this area (or at this stage) "southern (Ychsma-related) features" like the arched eye-brows, bulky necklaces or large ear-plugs are not necessarily adopted, not even after the arms become folded (e.g. P588, 1742, 1299, 443/Pl.111 or 246, 454, 1330/Pl.112.) Note that figurines from the lower Chillón valley in both sgs. LH1.1 and LH1.2 are rather different (and varied!), showing a degree of stylistic independence—emerging towards the end of the Late Intermediate Period, when we can first isolate a local Chillón variant (see Chancay 1.6.3)—as well as links with the areas to the north and south. To give but a few examples: • 250 1, 1346 and 1342/Pl.112/sg. LH1.1B) are comparative one-offs; 1342 is included here because of the air-holes at the shoulders, a typical Late Horizon trait. • 1343/Pl.113/LH1.2A, 1520 and 1362/Pl.115/LH1.2B are also unlike most other figurines in this sub-group 2, though 1343 has the typical featureless back, and the others are made with one mold only; note that 1362 also has strings hanging from the necklace at the back (like many sg.1.1 figurines from further north), though here they are painted on, rather than molded. • Finally the sitting black ware figurine (2189/Pl.111/LH1.1A), said to come from Marquez, closely resembles Rimac valley figurines such as 1772 and 1774/ Pl.104/Ychsma sg. 2.1A. In the south (Rimac to Lurín Valleys), amongst Ychsma figurines, some Chancay influence can also be felt, especially amongst those with undocumented provenances (see Pls. 105, 110). But when we look at documented figurines from sites like Pachacamac (Pl. 106) 1 2

250, similar to 1346, is mistakenly said to come from Chimbote. I doubt that the very similar 496/Pl.110/Ychsma 2.2B comes from Pachacamac, as alleged. 307

we find a different body-shape, the total absence of extended arms, several different headdress styles, bulky necklaces and large ear-plugs. To sum up: The main LH innovation is technical, with the spread of one-mold figurines and the gradual reduction (or disappearance?) of hollow specimens. Iconographically we see a clear change in the overall appearance of the figurines, with mostly molded arched eye-brows, much larger eyes, emphasized shoulders, the gradual replacing of extended arms by arms folded on the chest, the frequent occurrence of a ceramic “bridge” between the feet, the introduction of new types of head-gear, bulky necklaces and large ear-plugs. Eventually, perhaps with help of ware analysis, we shall be able to pinpoint local production centres and local LH sub-styles. But for the time being the overall uniformity of the LH figurine style shows that the Lurín, Rimac and Chillón valleys and Ancón were in close contact with each other, whilst possibly other areas of the northern sector (Chancay, Huaura, Supe?) remained somewhat outside the mainstream.

308

CHAPTER 12 FIGURINES ON CERAMIC CRADLES, LITTERS AND "PALANQUINS"

INTRODUCTION

Central Coast figurines can be found attached to contraptions made either of real reeds or split cane, or made of pottery, generally part of the same mold as the figurine itself. Litters or beds are also known in other parts of Central and South America 1, though generally the litters are not made of parallel reeds or cane, but rather have the form of a slab, often with feet and/or some ornamentation or attachments, much more like a bed. Based on archaeological and ethnographic evidence I tentatively suggest that in the Peruvian context we find 2: • Cradles, i.e. "a baby's bed or cot" (Oxford Dictionary); • Litters, i.e. "a means of conveying people, esp. sick or wounded people, consisting of a light bed or seat held between parallel sticks" (Collins English Dictionary). • Palanquins or Sedan chairs i.e. "A covered litter carried on poles" or "a small litter or palanquin, seating a single person, often borne on two poles " (Wiktionary). GROUP 1: FIGURINES ON INFANT CRADLES Table 56 Plate 117 Sample: 5 Figurines (examined all) Measurements: Maximum Minimum Height (4) 13.6 cm 12.3 cm Width (4) 8.4 cm 7.2 cm Thickness (4) 5.0 cm 3.3 cm Weight (3) 260 gr 220 gr

Median 12.8 cm 8.1 cm 4.5 cm --

DESCRIPTION

Only the face is left uncovered on the figurines (exception 2133, where the feet are projecting). The crown of the head is rounded on all except 2132, where it is hidden by the edge of the cradle. Pronounced modelling of the cheeks (exception 540). Thick semi-circular eyebrows on 2132 only; elliptic eyes with molded lids; painted eyeballs and pupils on 540. Non-descript nose, molded lips, no ears. The ceramic cradles imitate a wooden or cane cradle. All are rectangular in shape, but the construction differs. All have a straight-sided frame, made of wood or cane, with two truncated cylindrical sections projecting above the head end (longer, pointed on 540, broken on 2132); 2132 also has two lateral projections on each side. In front the body is covered by the imitation of a textile with geometric designs. The back is mostly made of split cane, fitted into the frame either horizontally (2133, 503, 2132) or vertically (secured with a rope on 2060); 540 only features a plain board with three horizontal ropes attaching it to the frame. 503 has a decor of incised circles on the lowest horizontal plank. Manufacture: All the specimens are mold-made and hollow, with air-holes in the upper section of the sides. Two figurines are made of red ware, one with white decor, two of black ware. The decor is painted, incised and/or molded. 1 2

See, amongst others, Lehmann 1951; Morss 1952; Winning 1972; Krutt 1975. These definitions are not entirely adequate – see below. 309

DISCUSSION

The use of this type of contraption as an infant cradle is illustrated by a Moche figurine (Fig. 82: AMNH B 5874) 1 shown with just such a "carry cot" on its back. In modern Peru, although peasant women generally carry their infants on their backs wrapped only in a blanket tied on the woman's breast by a knot, one occasionally also sees a cane or wooden support inside the blanket. An Inca cradle, depicted by Guaman Poma (1936: 212) looks different, raised off the floor by two legs at the head-end, and by a lower plinth at the foot-end. Cradles were also used as supports for contraptions inducing cranial deformation (Weiss 1962: 25 and fig.3; see also an example from Fig. 82 Ecuador in Reichlen and Reichlen 1983-1985: figs 2, 3). A figurine from the Nepeña valley (Fig. 83: EMB VA 64034) features a deforming device. It consists of two straps, diagonally attached to the sides of the cradle at the back, then passing over the middle of the head and forehead, descending over the eyes, on either side of the nose and mouth and fixed at the front to a transversal blanket, covering the body. Context 2060, from Uhle’s excavations at Chimu Capac (Supe), presumably comes from a grave. An additional functional dimension is given by Arriaga. He reports that cradles were considered as real huacas: “...they are made of two ornate poles, ending with faces, which were named after huacas. They have officials in charge of the cradles and when a cradle has to be made all the relatives get together with the official and chicha is prepared for that day: they fast on salt and aji, but break the fast with drinking. The official sprinkles each stick with chicha and talks to the cradle, calling Fig. 83 the name of the huaca given to it and asking it to protect the child who will sleep in it... “ (1968/1621:205, my translation). Arriaga also reports that 357 cradles were burnt in the course of the extirpation of idolatry campaign (1968/1621:200). Morss (1954: 53ff) reports that in the American Southwest, representations of babies-oncradles were used in "increase" cults. Geographic Distribution 540 and 2060 come from the Huaura valley and Supe respectively, but it is unlikely that 503 comes from Pachacamac: its face has a Chimu look about it and is made of black ware, so it may actually come from the North Coast. Chronology 2060 from Chimu Capac dates, like the rest of the Supe figurines from the site, to MH3. 540, similar in appearance and of a white-on-red ware, probably also belongs to the late MH (3-4). The two black ware cradles belong to the later LIP (7-8?); 2132, with its thick, semicircular eye-brows, could belong to the end of the LIP.

1

See Vol.I: 1364/Moche Gr.3/Pl.29. 310

GROUP 2: FIGURINES ON FUNERARY LITTERS

Table 56 Plates 118, 119 1 Sample: 19 specimens (examined 16) Measurements: Maximum Minimum Height (14) 23.2 cm 7.2 cm Width (14) 13.0 cm 3.3 cm Thickness (16) 7.2 cm 3.6 cm Weight (12) 660 gr 150 gr

Median 14.8 cm 9.5 cm 4.8 cm 340 gr

GROUP CHARACTERISTICS

This group differs from the preceding one in that the figurines are lying on the litters, without being covered or attached to them. The litters are also different in that a number of them have projections at both ends (some now broken) and all have several projections at either side. Figurines: Head: The crown can be straight or slightly rounded probably indicating a head-dress; 439, 2134, 1581, 415 have a minimally bilobed crown. The face is often markedly triangular; face-paint can occur: zoning of the eyes and cheeks (1834, P591), mouth and chin (535), Chancay “specs” and outlining of the chin (389, 1023, 262). Eyes are mostly elliptic (circular on P591, 535), with molded lids; only 464 has closed eyes; note the pronounced eye cavities on 439, 2134, 415. The nose and mouth are non-descript; semicircular ears occur on about half the sample (e.g. 1023). The body varies: One unusual shape shows shoulders pointing upwards, arms lying at the sides, an incision at the waist and short legs bent at the knees, with feet placed sideways (1807, 439, 2134, 1581,415, 260, 262; 1023 with straight legs and feet). Others have a straighter-sided body, with arms folded over the abdomen and straight legs (1834, P591, P592, 535, 1022, 1021, 464). 389 and 390 have arms extended sideways. 12 figurines are female, with a genital triangle and/or incised vulva, the rest either show no genitals or the genitals are hidden. Nipples are rare (1834, 535, 1022, 1023, 260). Clothing, accessories: Most of the figurines are naked, though 1021 and 390, have the typical narrow Chancay fajas across the chest or painted decor on their arms or legs (P591, P592). P591 wears a belt and loin cloth. Some figurines wear a headdress: high, with two picos (P591), a plain rounded or rectangular cap (P592, 535, 1021, 390?, 1023, 262); 260 wears a typical Chancay headdress with incised band and three perforations, 1488 an elongated headdress; 464 wears a necklace of large beads. Litters: Consist of a frame with vertical uprights projecting either only at the top (the majority of specimens) or at both ends (1834, 260, 262); on several specimens the top and/or base projections appear to be broken (P.10326, P591, P592, 1581, 415, 464). These projections can be thick, cylindrical, ending in a circular, truncated section (e.g. 535, 1023), or thinner, conical (e.g. 439, 2134). Both types of projections can appear on the same litter (e.g. 260, 262). On some specimens (1021, 389, 390, 1023) one or two smaller projections appear between the uprights at the top. In addition all have from three to six short, conical projections on each side (broken on 415?). A few litters have a concave profile (e.g. 439, 2134). The backs are nearly all made of vertically placed, parallel reeds, bound together by several segments of plaited rope: on 439, 2134, 1581, 415 five strands of rope go from side to side, whilst on 1022, 1807, 1021, 389, 390, 1023, 260, 262 only the top and bottom ropes go from side to side, whereas the two to four segments of rope in between are staggered and only go from the sides to the middle. Two of the litters (1834, 464) show no features at the back; the remaining backs are not recorded. The figurines generally fill the whole litter (exceptions: 1834, P591 which are slightly shorter, but especially 260, 262, 464 which only cover twothirds of it). 1488 is attached to a bed with four legs and a raised head area. The upper part of Two early Chancay "Tricolor" litters (Lavalle and Lang 1982: 97) were not included, as the pictures are not clear enough.

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the bed—with the figurine—had split from the lower part and was secured to it by a piece of string. Manufacture: Most the figurines/litters are mold-made and hollow with airholes in the upper section of the sides. On 1834 (and possibly on P591?) the figurine itself is hollow, with airholes at the waist whilst the litter is solid, with holes front to back. 464 and 1488 are handmade and solid. There is a great variety of wares, with early 3-colour, Chancay black-onwhite, terracotta with traces of cream decor and blackware with white or red post-fired incrustations. DISCUSSION

Cieza de León (1984/1553: chapter LXIII) mentions that in the province of Chinchán, burials were “...echados en barbacoas o camas hechas de cañas”. For the Central Coast the use of cane litters for funerary purposes is documented from at least the Early Intermediate1 to the Late Intermediate (Reiss and Stübel 1880-87: Taf.29; Kroeber 1954: 32-35; Stumer 1953: 45, 1954b: 221; Sestieri 1971:102). The study sample also includes four ceramic figurines on cane litters 2 and the following remarks also apply to them. Although in Mesoamerica figurines on litters have occasionally been interpreted as burials (Krutt 1975:85) in Peru this interpretation is rarely put forward. Kroeber (1954: 52) suggests it for a rag-doll tied to a litter found at Maranga, no doubt because he himself excavated many such burials at the site; Fleming et al. (1983:152) for a ceramic figurine 3 attached to a reed litter from Pachacamac; Lilien's (1956:181) attention is drawn to this interpretation by Stumer. The catalogue entry for 389 at the EMB (VA 3869) reads: “Figure lying on stretcher”, with “stretcher” crossed out and replaced by “cradle” (my translation); a stretcher is also recorded for the cane litter of 1329 (Chancay 1.2.4/Pl. 51) in the catalogue entry of the MVV. Curiously, Reiss and Stübel excavated the body of an infant on such a litter, but persist in stating that "a real cradle was used as a coffin" (Haas 1986: 306, my translation). My own reasons for tentatively suggesting that the litters in this group are funerary litters are : 1. The differences with the cradles described in Group 1 : • The figures are not covered or secured to the litter as ethnographic evidence shows is the case with infants. Winning (1972:126) thinks that figures prepared for burial should also be strapped to the litter, but I suggest that the laying-out stage may be represented. This point does not apply to the figurines on actual cane litters, which have to be attached to the litters. The fact that some of the latter are wrapped in textiles does not invalidate my argument: compare a figurine on a cane litter (Haas 1986: no.125 4) with the funerary litter of a child illustrated by Schuler-Schömig (1984:161). • One problematic figurine in this context is 1488, dating to the LH, which lies on a bed or cradle with legs, similar to the one depicted by Guaman Poma (1936:212). But unlike the tightly swathed infant on that cradle, this figurine is naked. • Some figurines (260, 262, 464) are considerably smaller than the litters on which they lie, and their head projects above the upper edge: this does not occur in present day Peruvian cradles. • The occurrence of projections at both ends of the litter (on some—though not all— of the funerary litters) and more importantly the lateral projections: some real funerary litters also have these projections (Reiss and Stübel 1880-87: Taf.29; Kroeber 1954: fig.21; Stumer 1953: fig.4), as well as the cane miniature litters with 80% of the bodies excavated at Playa Grande had been placed on litters (Stumer 1953:45) 431 and 1533/early MH Group 2 (see Pls. 15, 16) ; 449/Ychsma Gr. 1 (Pl. 102); 1329/Chancay 1.2.4 (Pl. 51). 3 See 1533/Early MH Group 2 (see Pl.16). 4 This figurine was not recorded. 1 2

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figurines. The lateral projections appear too short to have been used for carrying the litter. But they may have been necessary to strengthen the frame, if the litter was to support the heavier weight of an adult; alternately they could have been used for securing the ropes needed to lower the litter into a grave. However it may be that these differences between cradles and litters are stylistic rather than functional: some of the cradles in this sample come from further north along the coast (Supe, North Coast?), and/or date to the late MH, whereas a number of the "funerary" litters definitely come from the area between Chancay and Pachacamac and date mainly to the LIP or LH. 2. The appearance of the figurines on the funerary litters: • The position of several figurines with their arms resting along the body is unusual, particularly in the case of Chancay figurines (1023, 439, 2134, 1581, 415/Pl.118, 260, 262/Pl.119) and suggests an inert body. Knowing of the use of funerary litters the most obvious explanation is that a corpse is represented, but it could also be interpreted as a sick or drugged individual (Winning 1972:127). • The marked sexual characteristics such as breasts and vulva of the female figurines suggest adults rather than infants. However note that an Ecuadorian figurine with a deforming appliance, ipso facto representing an infant, also has adult features (Reichlen and Reichlen 1983-1985: 1420). • Some figurines have an elaborate headdress or ear-plugs (P591, 260), perhaps unlikely on an infant? 3. Some functional considerations : Only two of the litters which I interpret as "funerary" have a burial context. 1533— attached to a cane litter, so not included in this group (see Pl.16)—was associated with a mummy bundle containing the skeleton of a girl in her early teens, who died from a bone disease affecting her skull. The illness was probably prolonged and painful (Fleming et al 1983:150). 1581 was found in a grave with the "head of a girl" (Kroeber n.d.: List of Shipments, Accession nos. 1588/732 to 1588/734). In both cases we have no clue as to the symbolism of these grave goods and whether the sex and age of the associated burials have any bearing on it. But it is worth noting litter burials occurring in special contexts: • In the excavations at Playa Grande near Ancón, Stumer came across a simulated burial, containing several gourds, ceramic vessels and other offerings, together with a wooden log—perhaps a precious object on the desert coast—strapped to a funerary litter (1953: 45 and figs.4,5,6). Stumer suggests that this burial may have replaced a corpse that had been lost at sea or have some other magical significance. By extending this symbolism, the simulated burial of a figurine on its litter may have replaced the actual human sacrifice of an attendant or relative (Schuler-Schömig 1984: 156ff). • While excavating an Early Intermediate dwelling at Cerro Culebras, Chillón, Stumer found—in three doorways—”...the wrapped body of an infant...complete with miniature litter, not in a grave, but merely placed on the floor of the doorway" (1954b: 221). We have few context for figurines on litters (ceramic or cane): those come from graves. But some also may have been originally placed as propitiatory or protective offerings inside dwellings. The preceding considerations are only an attempt at an alternative interpretation of the litters in this sample as funerary litters. Considering that actual burials on litters are generally found face down, with the litter on top of the corpse (Stumer 1953: 46; 1954b: 221; Kroeber 1954: 32), it would be significant for the interpretation of ceramic figurines on litters, if they were also found placed face down as burial goods.

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Context There are two gravelots (P.10326 and 1581). The latter figurine was found inside the mummy bundle, in front of the legs (see Appendix 3). Geographic distribution Huaura/Chancay Certain

Ancón

Chillón V.

1

1

Fairly reliable

2

2

Unverifiable

3

2

Rimac

Lurín 1

1

The typical litters are more common in the northern sector: in addition to given provenances many are typical for the Huaura and Chancay styles. 1834, a typical Huaura figurine, is unlikely to come from Chimbote. The litter found at Pachacamac (1488) is of a different design. Chronology • P.10326 (a rough sketch), associated with what looks like a Teatino jar, could date to MH3/4. • 1834 and P591 show typical Huaura 2.1 traits from the middle range of that group and probably date to the early LIP (1-3). • 535, a Chancay figurine with its folded arms, circular eyes and cheek zoning, is probably slightly earlier than other black-on-white specimens (1022 to 1023) which are classic Chancay phase 3 figurines (LIP 5-7). Note the similarity of 1023 with the "Jecuan" sub-style, including the line across the chest and double “specs”. 260 and 262, also Chancay, made of black ware with post-fired incrustations, date to the end of that phase or to phase 4 (LIP 8, LH). • 439 to 415, which share a standardized body and a different litter from the Chancay series, are more difficult to date. I see two possible dates: 1) Three features suggest an earlier date than classic Chancay: the bilobation of 2134, 1581 (and 415?), more common in early Chancay, the ware, perhaps of the Ancón sub-style (439 comes from Ancón) and the fact that 1581 may have been associated with a Chancay 3colour vessel 1. 1807, with a similar body, but lacking the bilobation, and with a litter and ware like the classic Chancay specimens, could be the “missing link”. Possibly 439 to 415 date to late Chancay phase 2, whilst 1807 could date to early phase 3 (LIP 4 to early 5). 2) But there is also the possibility that this series is later and possibly Ychsma? The shape of the litter is very different: whilst Huaura and Chancay litters (including the litters shown in Lavalle and Lang 1982: 97) have thick uprights with flat ends, often with one or two small projections along the top between the uprights, and—in the back—two or three alternating segments of string only going half-way across (e.g. 389, 1023, 262), the litters in this series have pointed uprights (broken off on 1581 and possibly on 415), no projections along the top, and parallel rows of string across the whole back. The prominent arched eyesockets are reminiscent of the Ychsma eye-brows. 2134 is said to come from Lima, the others from Ancón and Chillón, but we know that during the LH there was a fair amount of exchange between the areas? • 464, from Huacho, is related to the Huaura 2.3 figurines, hand-made and fired at low temperatures. It also features the necklace of large single beads, typical for the early LIP, so I suggest a date of LIP 2-4. • 1488 comes from Uhle’s excavations in the north-eastern sector of Pachacamac, which yielded exclusively LH material. FMC 168958, listed with the mummy 109, which contained 1581, but with the mention “possibly from mummy 107” (Kroeber n.d., under June 16, 1925). It is likely that the two mummies were found close to each other, so they might date to the same period.

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GROUP 3: FIGURINES ON "PALANQUINS" Table 56 Plates 119, 120 Sample: 6 specimens Measurements: The height of the back-rest varies between 11.0 cm and 6.0 cm, the width between 9.6 cm and 5.9 cm. and the length of the "palanquin" between 20.0 cm and 11.7 cm. GROUP CHARACTERISTICS

Figures: Four palanquins (P593, 602, 601, 1857) carry only one personage sitting crosslegged, leaning against the back-rest, with arms at the sides. The shape of the head is low, rounded (square on 602); facial features are indistinct, all show some form of face-paint (outlining of the eyes, lower cheeks, mouth). The body, arms and legs are sketchy, no genitals. Clothing: P593 and 602 both wear a flat hat, 601 a rounded bonnet; 1857 wears a cap with two lugs and a criss-cross design. 602 wears a short-sleeved shirt; P593 and 601 have stripes across the arms and legs, 1857 wears no clothes. 602 wears large punctated ear-plugs and a necklace of large beads; no adornments on the other three specimens. 1082 shows three personage sitting on a platform. The main personage sits very upright with arms folded across the chest; no legs are shown. It has an elongated head with a black cap, the body is painted with dots. The two smaller personage on either side have the same body-shape and decor, their heads are missing. 1098 shows a diminutive figure lying on the platform, arms and feet extended. A second individual stands at the back of the palanquin, as if supporting the back-rest: it has an elongated head, arms extended upwards and some lines painted across the arms and legs. A bird? appears to be resting on his left hand. Palanquins: All the palanquins have the same shape: an oblong platform, with two carrying poles projecting at both ends. These can be rectangular to conical in shape. At about two thirds of the length, towards the back of the carrying surface, is placed—at a slight angle to the carrying surface—a high back-rest, widening at the top, with a dip in its upper edge. Attached to it, at the back, is a smaller panel, mostly painted in a geometric pattern, probably depicting a textile hanging; the panel at the back of 1082 was not recorded; the one on 1098 shows a standing personage (see above). Fig. 84 Manufacture: All the specimens are hand-made and solid. The ware is basically classic Chancay black-on-white, with the usual variety of hues: 601 and 602 practically have a red decor on a brilliant white background. DISCUSSION

The terms palanquin or sedan-chair are not entirely correct, as both imply a "covered litter". Here we have a ceremonial seat, obviously designed to be carried, rather like the papal "sedia gestatoria". In pre-Columbian Peru such palanquin figurines seem confined to the Moche and Chancay culture. The Moche palanquins have a raised seat and shorter carrying poles (Fig. 84: EMB VA 17592) 1. I have not included four elaborate palanquins, carried by two to four attendants (see nos.14/Pl. 120), which appeared to be beyond the scope of this study (no.3 could actually be a vessel). A variety of personages are represented on these elaborate Chancay palanquins: the figures carrying three of these palanquins (1, 2, and 4), as well as the personages carried on palanquins 1 and 2, wear the headdress typical for the Chancay attendant (Chancay Group 4). The carriers of palanquin 3 may be related to 1747/Pl.87; but the figures carried on both palanquins 3 and 4 have no parallels amongst the figurines. The more modest representations on the palanquins listed here show: 1

See Vol. I: 220/Moche sg.6.1/Pl. 36, with other examples. 315

1857, which wears a cap with the criss-cross decor the lugs is reminiscent of the "Chancay Witch" (Group 3/Pls. 88-91), though it lacks the rotund body. The main personage on 1082 and the individual standing behind the head-rest on 1098 both have the cranial deformation por llautu typical for Chancay Group 2/Pls. 80-87. Some of the personages represented are of high status: 602 with its important ear-plugs and necklace, as well as 1082 and 1098 with their attendants. The latter shows a very small figure lying extended, with its feet resting against a transversal bar, and could depict a dead child? The panels attached to the back-rest show various geometric designs. The shape of these panels is reminiscent of the large “shields” carried by some of the “attendants” in Chancay Group 4 (see 533, 532, C153/Pl. 93:). Context: No data. Geographic distribution: Three fairly reliable provenances show two palanquins to come from Lauri, Chancay valley and one from Marquez, Chillón valley. Chronology: All the specimens date to classic Chancay phase 3 (LIP 5-7).

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CHAPTER 13 CONCLUSIONS The preceding chapters will have shown to what degree I have achieved the first aim of this study, which is to classify the figurines from the Central Coast of Peru, at the same time highlighting the “origin, evolution, location and interaction of figurine groups”. The two other aims of the study have already been addressed indirectly in the discussion of each figurine group. This chapter sums up the evidence regarding: • The function of the figurines. • The cultural processes taking place on the Central Coast, also with reference to other areas of pre-Columbian Peru.

A. THE FUNCTION OF THE FIGURINES In Volume I, Chapter 10, I have already addressed the function of the figurines a) in general terms and b) by providing data specific to the North Coast. Here I shall only provide the data specific to the Central Coast. FUNCTIONAL INFORMATION PROVIDED BY THE FIGURINES 1.1: Information inherent in the artifact: 1.1.1: Physical attributes: The largest figurine in the sample measures 76.0 cm (584/Pl.73/Chancay sg.1.5.2B), the smallest figurine 1.8 cm (1909a/Pl.15/Early MH Group 1), the average size of the figurines is 18.2 cm. There is an overall increase in size starting with later Huaura (sg.2.3) and classic Chancay through to the Late Horizon.. Very small figurines, which could have been worn as amulets are relatively rare. Differences in size could mean a difference in function: the classic black-on-white cuchimilcos, for instance, fall into two clearly discrete groups according to their size alone, without any iconographic differences: the median size of sg.1.4.1A and B is between 18.5 cm and 16.3 cm, that of sg. 1.4.2 is 62.5 cm. As far as the stability of the figurines is concerned, this varies with the styles: Supe figurines, standing on a flat base, are quite stable, as are many of the Chancay “witches” (Group 3), sitting Chancay hunchbacks (various groups) and their Late Horizon successors. But on the whole, it is astonishing how few figurines can really stand unaided—especially in Chancay—either because their feet are too small to support them—this is the case of many large cuchimilcos—or because they lean backwards or forwards at often exaggerated angles (e.g. 456/ Chancay sg. 1.5.2C/Pl.74; 280/ Chancay sg. 1.6.2A/Pl.78). The only exception are some of the large Chancay-Huaura figurines, which appear to have been deliberately filled with sand, to give them stability. Late Chancay and Late Horizon figurines made with one frontal mold only could not have been meant to stand unaided. The manufacturing technique changed radically with the introduction of the mold from the North Coast via the late MH Supe group. Before that all the figurines were hand-made, except for Early MH Group 1, probably an import from the South Central Highlands. From the Supe group onwards, mold-made figurines become the norm, though for technical reasons many of the larger figurines, especially in Chancay, are mold- and hand-made. There are however some notable exceptions to this rule both in Huaura and Chancay, where some figurine categories are entirely hand-made (Huaura Gr.4 and partly sg. 2.3; Chancay Gr. 6). The end of the LIP and the LH see an important innovation in the manufacturing technique with the introduction of solid figurines made of one frontal mold only.

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There are considerable differences in the quality of the manufacture. The Middle Formative generally produced carefully made figurines, in keeping with many Early Horizon wares. This is followed by a long period of cruder workmanship during the Epiformative, the EIP and some early Middle Horizon groups. From then onwards, carefully crafted specimens can be found together with crude versions of the same type. On the whole, greater care is lavished on larger specimens, especially on the large classic Chancay and Chancay-Huaura cuchimilcos. No specific signs of handling have been detected on the figurines. Some form of mutilation may have occurred at Huachipa, were many heads only are found 1. Many specimens are in poor condition possibly because they were used before deposition, though the deterioration can also result from conditions before and even after retrieval! However many of the large classic cuchimilcos (Chancay 1.4.2) were found in absolutely pristine condition, showing that they were made specifically as grave goods. 1.1.2: Iconographic attributes Compared with figurines from Central America, Columbia or Ecuador the figurines of preColumbian Peru are very poor relations indeed. They lack the variety of expression, posture, accoutrements, activities, etc. Most Central Coast figurines are—within each culture—totally stereotyped. A greater variety of types appears in the Chancay culture, only to disappear again during the Late Horizon. Central Coast figurines are generally standing, with arms folded at the chest or extended sideways. Until the end of the Middle Horizon 78.6% of the figurines have no clear sexual attributes 2; from the Late Intermediate onwards, the ratio is reversed, with only 14 % lacking genitals, 77.5 %. females and 8.5 % males. But sexual characteristics remain mostly underscored: the female genitals and breasts are discreetly depicted, except for early Huaura figurines with hands placed on the genitals (Huaura Gr.1, a few Huaura sg. 2.1 figurines), and some late Chancay cuchimilcos and LH figures with an emphasised clitoris. By contrast some of the males have very large penises, though never shown with an erection. Many males also have nipples. Particular physical traits are rarely depicted, except for cranial deformation which is nearly always shown (front-occipital deformation, deformación por llautu resulting in an elongated head, and “bilobation” 3). There are around 20 hunchbacks, all belonging to the Chancay culture. Other infirmities or diseases are not depicted4. The posture is highly stereotyped: the figurines are mostly standing, 144 specimens (less than 10%) are sitting 5. Folded arms are standard until extended arms appear during the Late Intermediate, only to be phased out again in the Late Horizon figurines, where less than 20% still have extended arms. Representation of clothing is often only shown in an abbreviated form: collars, belts, vertical panels imitating a textile, crossed fajas or string-vests. Very few figurines actually show more substantial clothing, though many figurines were dressed when found. Sometimes, instead of clothing, body-paint appears to be represented. But it is not clear whether features

But heads are more likely to have been salvaged by amateur archaeologists. The only case of certain deliberate mutilation recorded by me is on a group of eight Moche figurines from Suchiman, Santa V., which all had a large hole punched into the back after they had been fired (see Vol.I: Tables 6, 7, 8). 2 The calculation is based on all the figurines up to Huaura and Unaffiliated (Ychma Gr.1 included): total of figurines showing the genital area is 304; males: 8 (2.6%), females 57 (18.7%), no sexual attributes 239 (78.6%). 3 Discussed in Chancay Sub-Group 1.1, Special features. 4 Exceptions: SAC 218/Chancay 1.1.3 (Pl. 48) covered with “veruga”? 1710, 1711 (identical) and 1054/Pl. 44/Late MH-Early LIP Unaffiliated with a number of diseases! 5 This includes figurines from Aspero, whose posture is not clear, Chancay sg. 2.3, where about half the figurines are sitting, sgs. Chancay sgs. 3.1, 3.2, where the sitting posture is a specific characteristic, and most of the Chancay hunchbacks. Without these, the proportion of sitting figurines would be less than 4%. 1

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like face-paint, the outlining of the genital triangle or horizontal lines across the legs, represent body-paint as worn in reality, or whether this is simply an artistic convention. Unlike clothing, the headdress plays a very important role from the earliest times and is nearly always shown. Necklaces and ear-plugs are also quite common, but accessories—e.g. objects carried by the figurines—are practically non-existent. Any symbolic significance of these accoutrements can only be guessed at. At one end of the spectrum, they may simply depict ordinary people in their everyday dress, at the other they may be invested with profound symbolic meaning, with representations of status or ethnic affiliation in between. We know of the symbolic language encoded in textiles and of the importance of headgear and ear-plugs in pre-Columbian Peru. It is worth noting that the latter are usually considered as representing high status in males, whereas here they are nearly always worn by females (viz. the female 244/Pl.112/LH sg.1.1B! 1.2: Information provided by the context: 1.2.1: Retrieval locations It is difficult to establish exactly how many specimens have an acceptably documented provenance 1: a. Graves: There are several degrees of certainty rating regarding figurines from graves: • 107 figurines come from documented graves (e.g. 6.2%); • Over 150 specimens certainly come from graves: these include figurines from excavations by Reiss and Stübel at Ancón, by Uhle in the Chillón valley, as well as gravelots acquired by Bandelier from Ancón or by Uhle from Quintay • The bulk of the material, at least from the Middle Horizon onwards, very probably comes from graves, including many figurines acquired (or excavated) by the MAL in the Chancay and Huaura valleys, figurines from Ancón in museum collections, the figurines found in workbaskets, etc. b. Middens and domestic contexts: We are told that the preceramic figurines from Rio Seco probably come from a midden, as well as most of the Formative figurines from Ancón and the Lurín valley. However it is possible that habitation sites also formed part of these middens, a fact with some bearing on the function. The figurines of Epiformative (Chapter 3) are more problematic. At the Tablada de Lurín figurines were found in graves, at Cerro Trinidad both in graves and in middens. The bulk of the material from Huachipa comes from an undocumented context. As for the numerous contemporary figurines which Ravines excavated at Garagay (Ravines et al 1982: 158)2, we have no contextual data. They may come from the re-utilisation of the ceremonial centre as a cemetery (ibid., p.136), but could conceivably have been deposited in other ways. From the Middle Horizon onwards very few specimens are documented from middens. A few come from midden layers in the Ancón necropolis, so they may have been originally linked with burials. A slightly larger number are Late Horizon surface finds at Pachacamac. To recap: some of the rare midden contexts may have been domestic; but no figurine was found in a documented domestic context—as is, for instance, the case of late Moche figurines found at Galindo (G. Bawden, personal communication). c. Ceremonial or ritual contexts: Relatively few figurines have been found in a specific ritual context. These include the preceramic figurines from El Aspero (Chapter 1), Ychsma offerings found at Huaca Pucllana A good example of the ambiguity of provenance information is that of Formative figurines from the Lurín valley (Chapter 2). 2 The 81 excavated figurine fragments were not made available for this study. 1

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(P573, 2323/Pl.103/Chapter 10) and the group of Late Horizon figurines found by Bandelier in a small precinct at Surco-Armatambo (1772-1778/Pls 104-105/Chapter 10). Many of the figurines from Plaza de los Pelegrinos at Pachacamac and from Pueblo Viejo and Panquilma (see Chapter 10) must have been part of ritual activities, though probably not all of them. A large black cuchimilco (P550/Pl.78, Chancay sg. 1.6.2.B) found at Maranga, may also have had some ritual purpose (see Context/sg. 1.6.2.B/Chapter 9). 1.2.2: Burial associations: Of the 80 graves with listed gravelots, 61 graves—associated with 66 figurines (3.8 % of total!)—contain data about the burials: statistically this is totally insignificant. What one notices is the preponderance of infant burials amongst the gravelots: there are 10 multiple burials, all except one containing adults with one or two infants; (Ancón 1T.680/Late MH Gr.1 contained one adult, two adolescents and 10 skulls!), 30 burials of infants, alone or two together, 13 burials of adults or adolescents and nine indeterminate burials. There is no obvious correlation between the number of figurines and the number of dead in any grave: the number varies from one to four figurines for one corpse, as well as one figurine for four or more corpses etc. It is particularly regrettable that we have no data about the burials associated with several different Chancay figurine types, such as Uhle’s graves A1, B1 and B2. Regarding the grave goods: pottery is nearly always present, but considering the size of the sample no valid observations can be made about the number and type of associated vessels. As far as other grave goods are concerned spindles, sewing baskets and implements stand out as being present in the majority of graves, regardless of the sex and age of the buried. In one Late Horizon grave (Ancón 1, T. 422) 1 76 spindles were found with one single fardo. However, since no study exists of gravelots in general, it is impossible to say whether sewing equipment is a standard grave good 2 or whether there is a specific connection between figurines and sewing equipment. INTERPRETATION

Since human effigies have been manufactured and used all over the world from the earliest times and since they have been interpreted in an infinite number of ways, what can we infer— from the few elements listed above—specifically about the function of the Peruvian figurines? It seems that during the Formative figurines functioned as amulets or household gods, though they also occur in graves. The fish-shape of many of the early Ancón figurines may link them to concepts of marine fertility and the increase of marine resources in the same way as later maize dolls were made specifically for the increase of the maize yield or figures modelled from llama fat for the increase of cattle. Note that—with the exception of a few specimens—the female aspect of these figurines is underscored. From the end of the Formative and during the early EIP figurines were found in graves, but their quantity (as at Huachipa and Garagay) could indicate that they were also used in a domestic context, as above, or in curing or magical practices: the large proportion of head fragments could point to a related ritual mutilation. The scarcity of figurines during the later part of the Early Intermediate has already been remarked upon. It may indicate a shift in religious beliefs and practices. From the Middle Horizon onwards it is clear that the figurines were nearly always deposited in graves, though this does by no means exclude their use prior to deposition. The most frequent functional interpretations of the use of figurines found in graves (e.g. toys, conopas used in curing practices, as well as in magical or other ritual practices) are briefly described in Vol.I, pp. 232-233. As far as the particular role of figurines in a funerary context: the fact that different Chancay figurine types (cuchimilcos, figurines with elongated See Appendix 3: Gravelots to Chapter 11. The fact that grave goods do not necessarily reflect the sex or age of the buried person is extensively documented by Schuler-Schömig (1984) or Makowski et al., (2012) and many others.

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head, the “witch” or monkeys) are found in the same grave or even inside the same fardo may mean that different types assumed different roles. It has been suggested that figurines replaced actual human sacrifices in graves (Schuler-Schömig 1984). The author lists features shared by the dead and the figurines alike, such as: a cotton-plug containing a metal plate, placed in the mouth 1, red post-fired pigment on the face and the use of litters. This interpretation is strengthened by the large cuchimilcos in pristine condition (Chancay sg.1.4.2), obviously manufactured specifically for deposition in graves. Finally the role of figurines in a strictly religious context is illustrated by the seven figurines found by Bandelier in a shrine at Armatambo, with sacrifices of guinea pigs and plants (see LH Sub-group 1.1, Chapter 11). It is also possible that some of the larger figurines, especially the Chancay-Huaura figurines—filled with sand to give them stability—were venerated in domestic or communal shrines. But there is no explicit evidence linking Central Coast figurines to a specific cult, such as, say, the cult of Pachamama, the Earth Mother. The only possible two exceptions are the identification of Chancay Group 2 figurines with Raiguana, the dispenser of crops, and that of figurines with a fish and/or bird decor with Urpayhuachac, a goddess of fish and marine fertility 2. Note that on Chancay-Huaura figurines the decor of birds or fish are strictly genderspecific. But by and large—and considering the lack of emphasis of sexual attributes—it would be gratuitous to interpret the figurines, as is so often done, as “fertility symbols”. To conclude: The function of the Central Coast figurines remains in the realm of pure speculation. Throughout the pre-Columbian period, they may have been used in various contexts, though they are overwhelmingly found in graves. But their precise function, or rather functions, as grave goods can only be guessed at.

B. CULTURAL PROCESSES ON THE CENTRAL COAST AS REFLECTED IN THE FIGURINES The premise to this section is that the diffusion or interaction of stylistic and iconographic traits of ceramic objects such as figurines are considered relevant to the tracing of cultural processes in the area where they occur. Throughout prehistory the valleys of the Central Coast appear divided into two main entities: a northern area comprising the Norte Chico (with the Fortaleza, Pativilca, Supe and Huaura valleys), as well as the Chancay valley and Ancón, and a southern area with the Rimac and Lurín valleys. Between these two, the Chillón valley functioned as a pivotal articulation. Areas to the north (Huarmey) or south (Asia, Mala) of the main entities still play a minor role, presumably because they have been less studied archaeologically: they will also be left out in this discussion. The cultural processes which we try to trace fluctuate between epochs when the two main entities are linked ideologically and/or perhaps politically, and those when the Chillón river— which. in its lower course is practically dry for long periods of the year, and whose mouth lies a mere 7 km north of that of the Rimac—appears to act as a cultural barrier. During the Formative there are fairly close contacts between north and south, contacts which continue in the subsequent “White-on-red Horizon” of the Epiformative and probably, though the material is scarce, during the Lima culture of the later EIP. Such contacts are evidenced by fairly similar figurines being produced from Chancay to Lurín. The Middle Horizon sees some changes in inter-valley relationship. Until MH3 contacts still exist between the north and the south, with some similar figurines occurring in both areas (Early MH Gr.1 and sg.2.2/Chapter 5; "Transitional" Early-Late MH Gr.1/Chapter 6). Note also the undeniable but inexplicable influence of Early Huaura on Ychsma Gr.1, which is only found in the Rimac and especially the Lurín valley. This is an exception, because otherwise contacts between the two areas appear to cease altogether from about MH3/4 onwards: there is, for instance, not a single Supe or Huaura figurine with certain or reliable provenance from 1 2

This is recorded in the case of 443/LH sg.1.1A/Chapter 11. See Chancay sgs. 1.1, 1.4.1A, 1.4.3, 1.5.2a, 2.4: Special features. 321

the southern area; though some rare Chancay figurines find their way into the Rimac valley as imports during the LIP 1. There is also the suggestion that the Huaura culture had an influence of the Early Ychsma (Group 1) figurines. Cultural contacts are only resumed again during the Late Horizon—no doubt as a result of Inca administrative restructuring of the region—when a unified figurine style, spreading from the south, reaches at least as far north as Ancón. But the Chancay valley appears to remain somewhat marginal to this movement. The Ancón-Chillón “pivot” plays an interesting role in this very schematic outline. As far as the figurine material is concerned, the Chillón valley often remains marginal. This is difficult to explain by a lack of research, since many archaeologists included the area in their surveys, their findings being incorporated into a wider overview by Macneish et al. (1975). The relative lack of figurines is also in stark contrast with the wealth of material found at Ancón. At any given time, when Ancón shared cultural traits with the valleys to the south, Chillón must have participated in this exchange. But there are no figurines from Chillón for the Formative and none for the Epiformative, when figurine production was prolific (though no figurines occur in Miramar pottery at Ancón either!). It is only during the Lima culture during the later part of the EIP—a period which is poor in figurines elsewhere—that we have relatively more figurines from the Chillón valley, possible because of the importance of a site like Cerro Culebras. The early Middle Horizon, well documented for Ancón, shows no figurines at all in Chillón. Even more surprisingly, during the late Middle Horizon, no figurines such as Supe, so common in the Chancay/Ancón area, nor the Huaura-influenced Early Ychsma Group 1, common in the Lurín valleys, find their way into the Chillón valley 2. The relationship between the Chancay-Ancón area and the Chillón valley was outlined in the Introduction to the Chancay culture (Chapter 9). During the early part of the LIP (epochs 1 to 4/5, e.g. Chancay phases 1 and 2) there is no evidence of a Chancay presence in the Chillón valley: only seven of the 153 early Chancay figurines (sgs 1.1 to 1.3) are said to come from the Chillón valley, none with a certain provenance 3. In the later LIP (epochs 5 to 8, e.g. Chancay phase 3) less than 5% of typical black-on white figurines (Chancay groups 1.4, 2 and 3) come from Chillón. However during the same period—but possibly starting slightly later and continuing into phase 4—the Chillón valley produces unmistakable Chancay figurines, but in red- and black ware (Chancay sub-groups 1.6, 2.4, 3.2), the red ware probably being Kroeber’s Sub-Chancay. This Chancay influence appears to extend sporadically also into the Rimac valley. But there is no evidence of the Chillón valley sharing a common style with the valleys to the south. Finally, during the Late Horizon, the figurine production becomes fairly homogenous from Ancón to the Lurín valley, whilst Chancay remains somewhat marginal. To try and fit the evidence gathered from figurines into the scant knowledge we have of the historical interplay of Central Coast valleys in pre-Columbian times would exceed the scope of this study. But the questions raised by the evidence of the figurines need to be answered from two angles: “Although a careful analysis of style can often identify trait diffusion, and through it cultural contact, it will not by itself explain the nature of the contact”. G. Bawden (1983:212) “...Surprisingly few advances have been made in understanding the social dynamics that led to the flowering and decay of regional [Classic] cultures.” Schaedel and Shimada (1982: 365):

See Introduction to Ychsma, Chapter 10. Only two specimens dating to the late MH or early LIP, a “Cat” fragment (259/Late MH Group 3/ Pl.30) and a fairly unusual Huaura figurine (1521/Huaura/ sg. 2.1/Pl.32) allegedly come from there. 3 1512/sg.1.1.1/Pl.46, 1344/sg.1.1.4/Pl.49, C145a/sg.1.2/Pl.51, 1536/sg.1.3.2/Pl.53, 1522,b1542, 380/sg.1.3.4/Pl.55. 1 2

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A brief overview of figurine production in the other coastal areas of pre-Columbian Peru in relation to the Central Coast will round off this study. The Sierra and Selva regions are deliberately left out because the study sample from those regions is (as yet!) minimal 1 and because the interplay of the figurines from those areas with those of the Central Coast appears (as yet!) negligible, except for early MH figurine groups from the Ayacucho Basin, mentioned below. The figurine production on the Central Coast has quite often been at odds with that of other regions. There are no preceramic figurine finds from other coastal areas, though this is probably a gap in the archaeological record. The Initial Period and Early Formative, scarcely represented on the Central Coast, has yielded a fair number of figurines on the North Coast (see Vol. I, Chapter 3) but only a few figurine fragments, found at Hacha, Acarí, on the South Coast (see Vol. III, Chapter 1). During the Middle Formative the only figurines on the North Coast appear to be the beautiful specimens from Tembladera (see Vol.I, Chapter 4), whilst on the South Coast the evidence of figurine production recorded to date is limited to a few figurine fragments from Cerrillos, Ica Valley. We shall have to wait for the Late Formative to see the emergence on the South Coast of the important but fairly rare figurines of the Paracas/Ocucaje style (see Vol.III, South Coast Formative Gr.3) ). The Epiformative sees the spread, on the North Coast, of the so-called "White-on-red Horizon", with totally novel figurine groups like Puerto Moorín/Salinar, Gallinazo/Virú and Vicús (see Vol. I: Chapter 5), a phenomenon which also affects the Central Coast (see Chapter 3). By contrast, on the South Coast, no further figurines appear till the end of phase 3 of the Nasca style, apart from two Topara or Chongos specimens (see Vol.III: 717, 865//Formative sg.3.1/Pl.2, p.30), which could be seen as the only "trace" of the "White-on-red Horizon"' on the South Coast. Around LIP Epoch 3 we see the introduction of mold-made figurines on the North Coast— leading to the mass production of these objects in the Moche culture. On the South Coast Nasca Phase 4 sees first the appearance of small figurines and eventually, during its phases 5 and 6 2, the beautiful hand-made classic Nasca figurines, which however remain much less numerous than their Moche contemporaries. However we have seen in this study that during the same period on the Central Coast, after the prolific—though run-of-the-mill—figurine production of the Late Formative and early EIP, figurines become fairly rare during the Lima culture. At the beginning of the Middle Horizon changes occurring in the South-Central Highlands and the expansion of Wari result in a discontinuity in figurine traditions which can be observed throughout Peru. The exact mechanism of the changes is still under debate, but we see new influences working on the local Huarpa substratum in the Ayacucho Basin and producing several novel figurine groups, related to local early Middle Horizon pottery styles such as Chakipampa, Ocros and eventually Conchopata, Robles Moqo and Viñaque. Elements of these styles interact with the Nasca tradition on the South Coast: they first make themselves felt in the late Nasca figurines—a debased version of classic Nasca—and are eventually replaced by the novel Atarco style. Atarco figurines combine some classic Nasca features, such as the rendering of the hands, with revolutionary changes, like heads lacking cranial deformation. Atarco figurines are relatively rare and probably short-lived 3. In the Moche heartland, we see the prolific Moche figurine tradition declining in number and in quality during Moche phase 5. But the only sign of a break in the figurine tradition is the brief appearance of the Wari Norteño B-type figurine, with its tall hat and separate cylindrical legs, totally unrelated to Moche. However the Moche tradition does survive in one

See Vol. III: The sample consists of 230 figurines from the Highlands, 18 figurines from the Amazon rain-forest, 7.5% of the total number of figurines in this study. 2 The Nasca chronology is the object of continual revision: for the Nasca chronology used here, see Vol.III: 17-18, 33-35. 3 See Vol. III, Chapter 7. 1

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typical NC-MH figurine group and it also combines with the Wari Norteño influences to produce the figurine groups like "Taitacantin" or Tanguche and others 1. On the Central Coast links with the South Coast are already obvious during the EIP, not only with some Nasca influence in the Lima style, but with Nascoïd figurines being produced in the Rimac valley (see Chapter 4: Lima Group 2). The Middle Horizon impact makes itself felt in several ways: one group (Early MH Group 1), probably an import from the Central and South Central Highlands, makes a brief appearance, though without a lasting influence. Atarco-related Wari-Pachacamac figurines (Early MH Group 2) make a relatively brief appearance at Pachacamac, but the earlier local tendencies remain strong. The third outside influence comes from the North, via the late Moche-related Supe figurines. Although this group is very numerous, its life span and ultimate influence is also limited. However, under the impact of these outside stimuli, the production of figurines, neglected throughout the later EIP, receives a new impetus. The local and foreign trends soon merge into the distinctive tradition expressed in the Huaura and Chancay figurine groups. After the Middle Horizon interlude, well-defined local figurine styles develop or reassert themselves in the various regions. In the Lambayeque area, we see the appearance of the distinct Lambayeque figurines, related to Chimu through the wares, rather than the iconography. In the Moche heartland as well as in the northern Moche sector, the Chimu figurines, depicting a number of distinct personages, still clearly show their Moche roots, even though they survive in the LH. In fact the impact of the Inca conquest of the area is not really visible in the figurine sample 2. On the South Coast two distinct types of highly stereotyped, mostly small figurines, appear sometime towards the end of the Late Intermediate and survive into the Late Horizon 3. On the basis of (not very reliable) provenances, it would appear that Type A is more often found in the northern sector of the South Coast (i.e. Cañete, Chincha and Pisco) and Type B in the Nazca basin and the southern sector, with both types overlapping in the Ica drainage. Interestingly there is only scarce documented evidence for Type A before LIP 7/8 and none for Type B before the LH, meaning that no figurines were made on the South Coast for the better part of the LIP. This state of affair is in stark contrast with both the earlier local traditions and with what happens in the rest of Peru at the time. Like on the North Coast, the impact of the Inca conquest is not visible in the figurine sample. On the Central Coast, the Late Intermediate sees the development of the various Huaura and Chancay figurine groups. The influence of Chancay is fairly strong as far south as the Chillón valley, but less so in the Rimac and Lurín valleys, where the Ychsma pottery style is predominant, though figurines of this style are still ill-defined as a separate entity during the LIP. It is only during the Late Horizon that an originally Chancay-derived but nevertheless novel figurine style spreads northwards from the southern sector to encompass the whole of the Central Coast. Even though this style shows no Inca component—except possibly in some of the wares—the existence of such a unifying style probably shows a more politically unified population under Inca rule. My hope at the end of this study is to have shown that the figurines, far from being a “minor artifact”, encompass a whole range of iconographic, stylistic and technological data, which can be used both by the archaeologist and the ethno-historian in their attempts to decode the past.

See Vol. I, Chapter 7. See Vol. I, Chapters 8 and 9. 3 See Vol. III, Chapter 4. 1 2

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APPENDIX 1 NOTES ON MUSEUM COLLECTIONS The following notes give some information about the largest or most important collections of Peruvian figurines in various museums, listed below in alphabetical order. They are meant as a guide to the provenance ratings 1 given in the Tables. When the name of the collector, dealer or buyer given in brackets under the museum accession number in the Tables is not listed here, it means that nothing relevant is known about that particular collection. AMNH: AMERICAN MUSEUM OF NATURAL HISTORY, NEW YORK Bandelier Collection: This large collection was partly acquired and partly excavated by Adolphe Bandelier during his stay in Peru in 1892/1893. 38 figurines recorded. Details are given in Bandelier's MS notes, now at the AMNH. Ancón (MS 1892:85): B. acquires the contents of 20 graves from huaquero (11 figs.); Surco (Armatambo) near Lima (MS 1892:142-178, 194): B. excavates at the site and also commissions excavations, yielding 629 object of which 186 are pottery (9 figs); Pachacamac (MS 1892: 202ff): B. organised excavations at the "so called Castillo 2, though rather high up on the slopes". There are 962 objects at the AMNH (6 figs.). In 1893 B. organises and partly works himself at Cajamarquilla (1 fig.), Magdalena del Mar, near Lima (1 fig.). San Isidro de Sayán (MS 1893:95): no mention whether the objects were acquired or excavated (5 figs.). Rating: certain (**) or fairly reliable (*). Gaffron Collection 3: acquired by the Museum in 1907, from the collector living in Lima. 43 figurines recorded , of which 24 have specific provenances for sites mainly in the lower Chillón valley, with a few from Huaura, Chancay, Pachacamac; another 15 only give "Peru". The specificity of the site names leads me to believe that the provenances were recorded by the collector himself. Rating: fairly reliable (*). EMB: ETHNOLOGISCHES MUSEUM, BERLIN (formerly Museum für Völkerkunde) Baessler Acquisitions: The amateur anthropologist Arthur Baessler (1857-1907) visited Peru between 1896-1898 and formed a collection of more than 11,500 specimens. The core of the collection was acquired from W. Gretzer (see below) and added to through acquisitions and excavations (Baessler 1902-1903: vol. I, Preface). 60 figurines recorded, 41 from the Central Coast. The following provenances are given : Huacho (1), Chancay (17), Ancón (3), Marquez (4) 4, Chuquitanta (3), Copacabana (2), near Lima (9), Pachacamac (2). The provenances are generally plausible. Rating: fairly reliable (*). Bastian Acquisitions: Alfred Bastian was director of the Museum für Völkerkunde, Berlin, during the last quarter of the 19th century. During his directorship a number of important Peruvian collections were acquired (Reiss and Stübel, Macedo, Centeno, Plock, Baessler, Bolivar). Eight figurines are catalogued as donated by him, but as he never visited Peru, they were obviously not acquired there by him. Rating: unverifiable. Gretzer/Van den Zypen Collection: Wilhelm Gretzer, a textile merchant who lived in Lima between 1872-1904, made a collection of more than 30.000 objects, partly through acquisitions, partly by organising excavations at Ancón, Pachacamac and probably at Ica-Pisco (Haas 1986: 29; Kaulicke 2000: 313-314). One part of the collection was acquired for the Museum für Völkerkunde, Berlin by A. Baessler (see above), the bulk was acquired in 1907 with funds donated by Van den Zypen and is now listed under that name. Parts of the Gretzer collection were also acquired by the museums in See Vol. I, Chapter 2, Section 2.2.3. According to P. Paredes (personal communication) this is the Temple of the Sun. 3 Parts of his collection were also acquired by MVM and AIC. 4 The original entry "Chuquitanta" is crossed out for nos. VA 18950-18952. 1 2

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Hannover and Hildesheim. 141 figurines recorded. The following provenances are given for the Central Coast: Huacho (9), Chancay (19), Chavarillo 1 (3), Marquez (25), Chuquitanta (2), near Lima (12), Pachacamac (26). On the whole the attributions appear fairly reliable, because of their relative specificity—less well-known sites are listed—and because they correlate with little known stylistic variations. The only exception is Pachacamac. Here, out of 26 attributions, there are a number of unlikely attributions, admittedly for rather unusual figurines 2. Rating: fairly reliable (*), except for some Pachacamac attributions, which are given the benefit of the doubt as unverifiable. Macedo Collection: Acquired by the Museum für Völkerkunde, Berlin in 1884 from the Peruvian doctor José Mariano Macedo. 38 figurines and four figurine molds recorded. Provenances given are Ancón (12), "Ancón?"(4), Chancay (11), "Chancay?" (1). But nos. VA 3837, VA 3873, VA 5668, VA 5669, with an alleged Ancón provenance, are Chimu, though not all absolutely typical. Rating: unverifiable. Reiss and Stübel Collection: The collection comes from extensive excavations at the Ancón Necropolis (Reiss and Stübel 1880-1887; Haas 1986). The sample contains 27 figurines. Rating: certain as to site (**). Seler acquisitions: Eduard Seler was head of the American Department at the Museum für Völkerkunde, Berlin (1904-1922). 3 figurines, all from Chancay. Insufficient data. Rating: unverifiable. FMC: FIELD MUSEUM OF NATURAL HISTORY, CHICAGO George Amos Dorsey participated in an archaeological expedition to Peru and Bolivia in 1991 under Frederic Ward Putnam: the main aim was to acquire material for the World Columbian Exhibition in Chicago 1893. In the course of this trip, Dorsey excavated at Ancón, Chancay, Huarocondo (Cuzco), Tiahuanaco, Chimbote and Suchiman, Santa Valley (Ravines 1988: 20). 22 figurines from Suchiman and two from Chimbote are studied in Vol. I. Dorsey describes his excavation in the Necropolis of Ancón in his unpublished PhD. Only very few figurines were found in the 127 graves excavated there, usually in children's graves (Dorsey 1894: 47, 73 and fig.111). Three of these figurines were recorded. At the FMC the provenance of two of them (1603/Chancay s.g 2.3 and 1593/Chancay Gr.6) is listed as "Chancay", but they are clearly visible on the Dorsey's figure illustrating the Ancón Necropolis material; however a third figurine, said to come from Sierra Gorda, Ancón, is also illustated on this figure; and we know that Dorsey also excavated in Chancay. Because of this lack of certainty : Rating: Fairly reliable (*). A.L.Kroeber: conducted the First Marshall Field Archaeological Expedition to Peru in 1925 and 1926 (Kroeber 1954:3). The figurines, excavated or acquired by Kroeber, now at the FMC (the numbers in brackets relate to Kroeber's MS inventory) have the following provenances: 6 figurines from "Late Period remains found with some eighty interments in a cemetery at Marquez, north of the Chillón river". Rating: certain (**), except for 1599, “bought from two volunteer excavators”: fairly reliable (*); 1 figurine (1598) from Infantas, Chillón, which according to Kroeber's MS inventory (p.8, 1588/382) was "brought in by amateur huaqueros, location probably as stated, but not absolutely certain", Rating: fairly reliable (*). 3 figurines from excavations at Huaca 15, Aramburu (Maranga), Lower Rimac, Rating: certain (**).

This site was not located. It would appear from this and other collections that a Pachacamac provenance was often given to odd figurines: many of these are unlikely, compared with figurines known to come from the site.

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HMB: PHOEBE A. HEARST MUSEUM OF ANTHROPOLOGY, UNIVERSITY OF CALIFORNIA, BERKELEY

Uhle Excavations and Collection: During his trips to Peru, Uhle undertook a number of excavations. The materials are deposited either at the HMB (or at the UPMP 1); they are listed as "Uhle excavation" and their site-rating is generally Certain (***). However, Uhle also acquired various objects from huaqueros, collectors or dealers; these are listed as "Uhle collection" and the site-rating is Fairly reliable (*). At the HMB the numbering for excavated items has the prefix 4-, for acquired items the prefix 16-. LMS: LINDEN-MUSEUM, STUTTGART Sutorius Collection: A first lot (nos. 52156-53488) was donated to the museum in 1902, followed by a further donation (nos. 93292-923736) in 1918. Of the eight figurines, four come from Chancay, two from Huacho, two from Chicama. Rating: Unverifiable. MAI: MUSEUM OF THE AMERICAN INDIAN, NEW YORK Out of 99 figurines from this museum 26 have unlikely attributions (e.g. Chincha figurines from Trujillo, Central Coast figurines from Lambayeque, etc.), 19 of these with catalogue numbers starting with 19/, 20/, 21/. S. Birnbaum of the Museum confirms that these were mostly purchased in the 1930s and 1940s and that the attributions may well be incorrect. Other incorrect or vague attributions correspond to serial numbers starting with 5/, 6/, 7/. Rating: unverifiable or—often—unlikely (ºº). MAL: MUSEO AMANO, LIMA Yoshitaro Amano made his large collection of antiquities—mainly from the Chancay and Huaura valleys—by organising or personally undertaking excavations and by acquiring objects from local huaqueros. He and his collaborators had an intimate knowledge of the area and also of the huaqueros operating there. This means that the specific provenances given are usually fairly reliable. Rating: fairly reliable (*). MHP: MUSÉE DE L’HOMME, PARIS (NOW MUSÉE DU QUAI BRANLY) Collection Ber - Depot de la Société d'Anthropologie: Théodore Ber provided a collection of objects collected in Ancón during the 1870s (Haas 1986:28). Rating: fairly reliable (*), except for 514, 525, and 86, given as "Pachacamac", but clearly Supe, (see Chapter 7). Gift Capitan: no data. Rating: unverifiable. Gift Raoul d'Harcourt: Five figurines (one from Chancay, four from Ancón), probably acquired locally by d’Harcourt during his stay in Peru. Rating: Fairly reliable (*). Gift of the Société de Géographie: No available data about the origin of this collection. Eight figurines, all Chancay in style, said to come from Ancón. Rating: unverifiable. Wiener Collection: Charles Wiener was sent to Peru and Bolivia on an archaeological mission by the French Ministry of Public Instruction. Many of the site attributions of objects in Wiener's publication (Wiener 1880) are inaccurate and/or highly unlikely 2. Rating: at best unverifiable, often unlikely (°°). MNAA: MUSEO NACIONAL DE ARQUEOLOGÍA Y ANTROPOLOGÍA, LIMA Access to archive information was difficult and the provenance ledgers incomplete. Some additional information was subsequently provided by Doctora Rosa Fung Pineda. The ratings are discussed individually, where applicable. The numbering “A1/T.../P...” refers to specimens excavated at Ancón 1 (see Appendix 2, Ancón) and means “Ancón 1/Tumba .../Pieza ...”. Occasionally the number of the Faja (trench) is also noted “F ..”. Some specimens have no recorded tomb number, only a Faja or Pieza number. The excavation notes are recorded in two series of ledgers, running to many volumes: 1 2

See below. For instance: many Moche or Chimu vessels are said to come from Puno or Sillustani! 327

• Inventario de especímenes arqueológicos extraídos de las excavaciones...etc., with detailed descriptions and thumbnail sketches of all the excavated objects, listed by grave; • Diario de los trabajos arqueológicos en la necropolis de AncónMiramar...describing the setting of the graves and enclosing a list of recovered objects. Unfortunately I had the greatest difficulty in gaining access to these ledgers and was finally only given a few hours to check a number of entries, to make notes of the burials and to copy the sketches of relevant associated ceramics. As a result many of the gravelots (Appendix 3) are incomplete. The only exception were some Inventario volumes deposited at the Instituto Nacional de Cultura, where I was allowed to photocopy the gravelots containing figurines. MNCP: MUSEO NACIONAL DE LA CULTURA PERUANA, LIMA A large number of ceramics from the excavations by the Inspección General de Monumentos Arqueológicos at the "Ancón 1" site were deposited at this museum. I was able to reconstitute a number of gravelot associations, though the relevant excavation notes were rarely available (see above MNAA). MPCS: MUSEO PERUANO DE CIENCIAS DE LA SALUD, LIMA Excavations by Hans Horkheimer in the Chancay Valley, 1961 - 1962: Some of the material is deposited here 1. The finds are numbered as follows: - Finds from the first cateo (trench): "La-2-VII” meaning “Lauri-grave 2-object VII”; - Finds from subsequent cateos at Lauri : "La V-2-VII" meaning: Lauri sector V-grave 2-object VII; There are 11 figurines from Lauri, 4 from Pisquillo Grande (eg. Pg-4-XII); 1 from Makatón (e.g. Ma-2-VII). Rating: certain, from excavation (***). 2 further specimens come from Huaquería, a sector of the Lauri cemetery, but according to Cornejo Guerrero (personal communication) were probably acquired from huaqueros (e.g. “Q.Adq.XI”). Rating: certain as to site (**). A further three unnumbered figurines at the museum (my 827/Chancay 1.6.2B; 828, 829/early MH Group 1) were probably also part of the Horkheimer material, so may come from the Chancay valley. MRAHB: MUSÉES ROYAUX D’ART ET D’HISTOIRE, BRUSSELS Collection du Consul Grenade, acquired 1946: 14 figurines acquired in 1943 from a dealer or huaquero called Melendez. Most provenances given as "Huacho", cover specimens of the Huaura and Chancay styles. Two provenances for "Supe" correspond to Supe specimens; but one early Chancay figurine (143/Chancay sg. 1.1.1) is said to come from Chanchan! Melendez probably operated in the Huaura area, but the attributions are too unspecific to be considered reliable. Rating: unverifiable. MVM: STAATLICHES MUSEUM FÜR VÖLKERKUNDE, MUNICH Gáffron Collection: acquired by the museum in ?. 80 figurines recorded. Provenances are written on twenty-one figurines; Huacho (4), Supe, Huacho (11), including 4 IcaChincha figurines, specifically marked "Supe?, Huacho?", "P" for Peru (6). All are written in pencil by the same hand. As this way of marking does not occur on other specimens from the collection of Dr. Gaffron (at AMNH and AIC), the attributions were probably given by a curator at the museum on stylistic grounds. Rating: unverifiable or unlikely.

The excavations notes, deposited at the Colegio León Pinilla in Lima, were not available for inspection.

1

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MVV: MUSEUM FÜR VÖLKERKUNDE, VIENNA SMS "Donau" collection: A report of the ship's doctor, Dr. Krok, dated September 1901, after a trip to South Amerika and Honolulu, lists a crate of local antiquities acquired in Callao, the port of Lima, "from an English collector". This includes 13 figurines—as listed in Dr. Krok's inventory!—(mainly Chancay and CC-LH), without specific site attributions. Other objects acquired at the same time include 52 ceramic vessels, as well as textiles, spindle-whorls, etc. Dr. Krok also mentions a collection of Peruvian antiquities ("Copperwork, idols, ceramics, mummies, huacos") which had been taken to Santiago, Chile, as booty from the Chile-Peru, though he doesn't appear to have acquired it. Rating: Unverifiable PC1L: PRIVATE COLLECTION 1, LIMA: The collector has a good knowledge of the AncónChancay-Huaura area. He acquired the figurines from local huaqueros. Rating: fairly reliable (*). PC2L: PRIVATE COLLECTION 2, LIMA: The collector is an archaeologist, who has himself excavated the specimens which he allowed us to record. Rating: certain as to site (**). PC3L: PRIVATE COLLECTION 3, LIMA: Now listed as the Fundacióm Polli. No provenances. PC4L: PRIVATE COLLECTION 4, LIMA: Collection of the late Dra Maria Rostworowski. No provenances. PC5L: PRIVATE COLLECTION 5, LIMA: No Central Coast figurines. PC6L: PRIVATE COLLECTION 6, LIMA: The collector has an extensive collection of Chancay ceramics, including a large number of figurines. Most of them are obviously genuine, many very beautiful. However there are also specimens which are extremely odd, giving rise to a suspicion that the collector may occasionally have been manipulated by forgers? With one exception, the figurines in this collection have no specific provenance. PMH: PEABODY MUSEUM OF ARCHAEOLOGY AND ETHNOLOGY, HARVARD UNIVERSITY S.K.Lothrop acquisitions were made in Peru during purchasing trips for the museum. Lothrop visited many private collectors (and huaqueros). The Lothrop acquisitions have the prefixes 41.52.30, 42.12.30, 42.28.30 and probably 46.77.30 1. There are 95 figurines. The attributions, ranging from the North, Central and South Coast are often specific (including names of lesser known sites) and therefore appear genuine. Rating: fairly reliable (*). UPMP: UNIVERSITY OF PENNSYLVANIA MUSEUM, PHILADELPHIA Max Uhle Collections: Uhle numbered his finds during excavations or immediately afterwards, so that items from one site and—more importantly—from one grave generally have sequential numbering. Numbers can be subdivided by lettering, indicating smaller finds or fragments. In the case of the large collection deposited at the UPMP, Uhle himself later re-classified the finds by types (ceramics, textiles, metal objects, bone, etc.) and renumbered them within each category; fortunately the original excavation numbers are written on the objects and mostly also listed along the new numbers in the catalogue entries. When known, both numbers are given in the Tables thus: 28447 (Uhle 378) 2. The provenance ratings depend on Uhle’s own comments in the Museum Register: 1) Marquez, lower Chillón valley: Uhle excavated at locations in and around Marquez, but I could find no further data about the nature of these sites, some of which are said to be huacas rather than cementeries (see also Appendix 2/Sites: Marquez). However these huacas may The relevant documents were missing from the archives, but the 46.77.30 material includes the graves at Chaviña, Acarí, excavated by Lothrop's wife (see Vol. III). 2 For further material from Uhle excavations see also HMB, FMC in this Appendix. 1

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well have been reused as burial grounds during the LIP and LH. • Acc. Nos.33103-33180: "Marquez, my own excavations"; next page (continuous numbering): "Marquez, my own excavation, Huaca El Palmo" : No figurines. • Acc.Nos.33182-33205, 33231-33257, 33330-33333: "Marquez, my own excavation continued by huaquero" (at El Palmo). Next to these entries Uhle has noted "original numbering 133-182" = Figurine nos. 33244-33249 (= my 1473, 1481, 1491, 1497, 1546). Rating: certain as to site (**) • Acc. Nos. 33206-33224, 33258-33274, 33334-33360: "Later excavations at Marquez, northern part of Valley". The three groups of numbers are accompanied by Uhle’s entry: "3336-3376 [original nos]: objects from Huaca near Marquez, bought at Lima"= Figurine nos 33355-33360 (= my 1521, 1523, 1511, 1512, 1510, 1522). Two of the figurines (1521/ Huaura 2.1, atypical) and 1512 (Chancay 1.1.1) are unlikely to come from Marquez. The remaining four are likely to come from the site. Rating: Fairly reliable as to site (*). • Acc. Nos. 33225-33229, 33275-33329: "Excavations at a huaca in the southern corner of the Valley of Marquez". Uhle does not specify whether the excavations were done by him or by a huaquero. Both sets of numbers accompanied by Uhle's note: "This collection includes original nos. 3523-3564, 3572-3574"=Figurine nos. 33275-33286 (= my 1475, 1545, 1467, 1466, 1543, 1544, 1542, 1472, 1470, 1489, 1477). The figurines are consistently late, so likely to come from one burial ground. Rating: certain as to site (**). 2) Huaca Paraíso, lower Chillón valley: • Acc.Nos. 33362-33462: "Huaca Paraíso". Note by Uhle: "494-625 and 634-637 [original nos]: excavations in the Huaca Paraíso, on the left of the road from Chuquitanta to Marquez, near to the stream Chillón. Purchased from the excavators in Lima". No figurines. • Acc.Nos. 33463-33758: "Huaca Paraíso", but no.33584 reads "Valley of Lima, perhaps Caudivilla”(sic), a Chillón valley site. The original numbers for this series are 3436-3489, with numerous subdivisions a, b, c, etc. Unfortunately the original numbering as written on the figurines does not tally with the accession numbers. There is no mention how these objects were acquired (excavated, bought from huaqueros?) The figurines belong to different phases. Figurine nos.33566-33568 (original nos. 3403-3405) (= 1520, 1536, 1487). Rating: unverifiable. • Acc.Nos. 33759-33840: "Marquez or Paraiso" (original nos. 893-902 and 34933503). Figurine no.33762 not recorded. 3) Pachacamac (see also Appendix 2: Sites): With a few exceptions all the figurines were excavated by Uhle at the site. Rating: Certain, documented (***), not documented (**). In addition some of Uhle's Pachacamac gravelots have been tabulated by Stearns (unpublished MS at UPMP), but many item numbers are not listed, perhaps because they did not form part of an actual gravelot. 4) Quintay in the district of Sayán, Huaura Province: On 7th June 1896 Uhle writes: “Today I acquired at my expense for the department a somewhat large, recently excavated collection from Quintay (in the valley of Huacho); this collection will serve for the preliminary representation of this northern part of the coast region, and for purposes of comparison.” (UPMP archives, kindly translated and communicated by M. Maitland) • Acc. nos. 1351-1520: “Collection from Quintay in the neighbourhood of Huacho, inland, newly excavated, obtained in Lima". The recorded figurines from Quintay are numbered 34138-34148, original nos 1353-1363 (= 1463, 1539, 1541, 1461, 1540, 1535, 1464, 1538). As all the specimens (except 1540/Pl.48) date to Chancay phase 3, we can assume that they come from one cemetery at the site, though A. Krzanowski, who explored Quintay, found all the local pottery styles in various sectors of a large cemetery, from the late MH to the LH, e.g. Teatino to Inca (1991b: 191-198). Rating: fairly reliable *. 330

APPENDIX 2: NOTES ON SOME CENTRAL COAST SITES Some of the sites listed here (in alphabetic order) have yielded numerous figurines throughout pre-Columbian times. Excavations were carried out in various sectors of some of these sites and it is often difficult to place the varying names or descriptions given to these sectors. This appendix is designed to explain the topography, archaeological exploration and chronology of the most important sites. In addition, the appendix lists a few sites about which there is little information in the published literature. Note however that a number of often mentioned sites from the Chancay valley are not listed here: these are mostly large cemeteries, about which little is known. ANCÓN The archaeological remains at Ancón, situated on the Pacific coast, circa 30 km. north of Lima, were excavated in several areas and belong to different chronological phases 1. The earlier area, mainly dating to the Early and Middle Formative, is situated on the hills or Colinas dominating Ancón in the south and closing the bay. A number of excavations have been carried out here, mainly in what has been called shell middens, but which were in fact a settlement or settlements (Willey and Corbett 1954:5, 14) and also contained some ceremonial architecture and burials. A few burials were found within the settlements, but the majority came from an adjacent burial ground, located in a part of the Colinas, called Cerro San Pedro. Carrión Cachot (1948: 161ff) speaks of more than 400 burials excavated by the MNAA and describes a typical burial in detail, but only illustrates a few vessels and two figurines from this site. She does not realize that the large amount of marine shells covering the area are remnants of habitational refuse and thinks they are the result of a cataclysmic inundation. The MNAA numbering for specimens from this area is mostly —but not always— A-2 (Ancón 2). Another section of the Colinas area is the so-called Tank Site (PV 45-2), named after a large water reservoir located there. This must not be confused with another site, also sometimes referred to as El Tanque or El Tanque de la Base Aérea, named after another reservoir, located at the foot of the hills, near the eastern access to Ancón (see below). Early figurines from the Tank Site come from excavations by Uhle (his site D) and from H. Rosas (his Ancón 1, a numbering later also given to an area at the foot of the hills, see below). Amongst the other archaeological areas at Ancón the two most important are: 1) The Necropolis, thus named by Reiss and Stübel (1880-1887), located to the northeast and east of the town and today covered by it. It dates from the Middle Horizon to the Late Horizon. Figurines from this area were excavated by Reiss and Stübel and Uhle. In addition many of the figurines with an Ancón provenance in early collections probably also come from this sector. 2) An area located at the foot of the hills, in the Pampa de Ancón, now completely covered by modern constructions and adjacent to the Necropolis. This area originally consisted of a number of distinct middens and burial grounds, with names such as Base Aérea (or Miramar 2 see Patterson). Excavations carried out by the MNAA in the mid-1940s (the first phase) in the area of the later Necropolis, revealed over 1570 graves which have never been published (Willey and Corbett 1954:7; Ravines 1977: 327-328; Haas 1986: 22). According to Carrión Cachot (1948:160 and fig.19) this cemetery represents a second phase at Ancón, belonging to a SubChavín phase, with a ceramic style “...which preserved some of the original Chavín shapes, but with a simpler incised decor...” (my translation) and occasionally found in association with ceramics of the “Sub-Huaylas and Mantaro” styles. Carrión Cachot probably means For an overview of the site and brief history of archaeological work at the site see Menzel 1977: 41ff, Haas 1986:13-30 and map p.357. Kaulicke (1983-Spanish translation 1997) has published some of the material excavated at Ancón over the years and details about the various sites and excavations. 2 This latter name was given by Patterson (1966: 5-7), as it was within the new urbanization area. 1

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Epiformative styles of the Red-on-White variety, which were actually autochthonous. This socalled second phase at Ancón allegedly came to an end through an inundation, which covered the cemetery with a sterile layer, isolating that phase or phases from the later Necropolis. A second campaign of excavations undertaken by the Inspección General de Monumentos Arqueológicos in 1950-53 uncovered 879 graves with 11,090 objects (Ravines 1977, 1981), including a large number of figurines in documented gravelots. Of the finds from this excavation 250 fardos and 2,839 objects were deposited with the MNAA, whilst the contents of 30 burials went to the MNCP. The finds from this area date from the early Middle Horizon to the Late Horizon and bear the site number A1 (Ancón 1) 1. A third phase of official excavations took place in the same area in 1959 and 1965 and uncovered another 90 burials with about 600 objects, followed by various other small excavations in various areas (Ravines 1977: 329-330). Since then, there have been various excavation campaigns, notably in 19921994, the Proyecto Tumbas de Ancón (Kauffmann-Doig 1996) and others. An element of confusion arises between the denominations Ancón 1 (or I) and Ancón 2 (or II). Ravines (1977: 332), followed by Haas (1986: 21) and Kaulicke (1983/1997) calls the early sites at the top of the hills (Las Colinas, the northern slopes of the Cerro San Pedro, on the way to Playa Hermosa) Ancón I, whilst the area along the beach to the north, comprising the Reiss and Stübel and Uhle Necropolis, the Base Aerea and Miramar, are called Ancón II. However the numbering on the numerous MH, LIP and LH figurines, recorded both at the MNAA and the MNCP, was always—at the time when the specimens in this study were registered—"A1", whilst Formative specimens at the MNAA have several different numberings, including A1 and A2 (see Table 2). In my list of Gravelots, I have used A1, followed by the Tomb number, as it appears on the actual specimens. ARMATAMBO (ALSO SURCO OR SULCO), RIMAC VALLEY

This large site is located on the left bank of the Rimac, at the foot of the Morro Solár in the southern Lima suburb of Chorillos. Stumer (1954c: 141) lists it, together with Cajamarquilla, as one of two Elite Urban Centres in the Rimac Valley. It controlled the important acequia of Surco in late pre-Inca and Inca times. Albornoz mentions an important local huaca, that of Sulcovilca, considered as their pacarisca by the local Indians. The site contained at least three structures of the type known at Pachacamac as pirámides con rampa (Bueno 1983: 25) and other large walled compounds, as well as burial grounds. Compared to the nearby sanctuary of Pachacamac, Armatambo has—until recently—been little explored. Bandelier undertook some excavations there (see Chapter 10), and since the 1980 there have been several campaigns of excavation, mainly under the aegis of the Proyecto Armatambo (Ruales, Tosso and Vallejo 1983, Bazán 1990, Diaz and Vallejo 2002a, 2002b, Guerrero 2004, Diaz 2004). Although there is some evidence of Ychsma Temprano 2, the main occupation appears to date to the later part of the Late Intermediate (Ychsma Medio and Tardío A) and the Late Horizon (Ychsma Tardío B). Stumer (1954c: 141) particularly mentions “a great profusion of...molded figurine fragments”, but unfortunately not many of these seem to have found their way into the publications or museum collections. CAJAMARQUILLA, RIMAC VALLEY Large site in the lower reaches of the Quebrada de Jicamarca, on the right bank of the Rimac, about 25 km inland from the coast. The ruins form important compounds, surrounded by adobe walls. Originally considered an early Middle Horizon site, opinions about the time span of the site differed (see for instance Shady 1982). According to recent studies the site was already occupied during the early part of the Early Intermediate, but developed mainly during the second half of that period, in the late phases of the Lima culture. It had its apogee during MH1, but went into a rapid decline during MH2. According to Cavatrunci (1990: 234) during 1 2

See Appendix 1: MNAA and MNCP. See Chapter 10: Chronology of the Ychsma style. 332

the later part of the Middle Horizon an Aymara speaking group, the Huanchos 1, descend from the Highlands through the Rimac valley and occupy the—by then abandoned—site, using some structures and burying their dead but “leaving little trace” of themselves. During the Late Intermediate Period the site became an important center of the Ychsma polity: most of the large compounds with their surrounding tapia walls still existing to-day were built then (Sestieri 1964, 1971; Cavatrunci 1990, Mogrovejo y Segura 2000, Segura 2001; Narváez 2004, 2006; Tavera n.d.). CATALINA HUANCA (or VISTA ALEGRE) This huaca is part of a large ceremonial site, situated on the Hacienda Vista Alegre, near Ate on the left bank of the lower Rimac. The site is linked to the important canal of Ate, which irrigates the areas of Huachipa, Ate-Vitarte, La Molina and Surco. The canal was the power-base of an early curacazgo and the name Catalina Huanca is said to be that of a curaca. The Ate canal was probably built in the early EIP, but is better documented from epoch 7 of the EIP and in MH epoch 1 (Mejía Huaman 1998). The stepped pyramid is surrounded by six smaller mounds; the site has been re-used for burials in later periods and possibly reoccupied in the LH. For a detailed description of the site, see Valdez 2015: 49-58. HUALLAMARCA (ALSO KNOWN AS HUACA PAN DE AZÚCAR), RIMAC VALLEY Large pyramid, located in the San Isidro district of Lima. On the basis of limited excavations the huaca appears to have been built as a ceremonial center during the Upper Formative, remodelled several times and occupied till the beginning of the Lima culture (EIP 5). During the late Middle Horizon and the early Late Intermediate it was re-used as a cemetery. Finally, during the Late Horizon, the site seems again to have been a ceremonial centre (Willay 39/40: 14-17). According to Guerrero (2004:158) the site was also used for burials during the Late Horizon. 2 The first excavation and partial restoration, undertaken by A. Jimenez Borja in 1958-1960, encountered around 50 burials. Further excavations were undertaken in 1991-1992 by Clive Valladolid H. of the Museo de la Nación. Nine figurines dating from the early EIP to the LH come from the site.

MACATAMPU (also MACATAMBO, MACATTAMPU), RIMAC VALLEY This large site, now entirely destroyed, was located between Lima and Callao on the Hacienda Conde de las Torres, at the height of block 27 of the Avenida Argentina. Small scale rescue excavations of the site since the 1940 uncovered large ceremonial structures of the Lima culture, re-used as a burial ground in the LIP and yielding Ychsma material. (Website Narvaez n.d: Arqueología del Perú). MARANGA, RIMAC VALLEY The large site of Maranga 3 (all or part of which were also known as Huadca (Huadtca, Huatica), Aramburu, Pando etc.) is situated south of the Rimac, near its mouth. It originally covered an area of around 150 hectares, but has been largely destroyed by the growth of Lima. According to Stumer (1954c: 132,140) the various names designate different sites: this is only partially true. In fact the large area of ruins, now generally known as Maranga, extended over several haciendas, hence the different names. The German traveller Middendorf explored and mapped the area in the 1880 (1973: vol. II, 56-69), when it was still untouched by urbanization4. He clearly distinguishes three different sites: The existence of this ethnic group is open to debate (Bazán 1990: 4ff). Unfortunately I was unable to see the often quoted MS article of Casas and Dolorier 2004 about the site. 3 Some of the information about Maranga comes from the Websites Arqueología del Perú (see Narvaez (n.d.): Huaca San Marcos, Huaca Concha; Tavera (n.d.) Maranga. See also Kaulicke 2000: 322ff. 4 A more recent study of the site as a whole (Canziani 1987) rather adds to the confusion of site names, not least because it re-numbers all the Middendorf buildings! 1 2

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G: an area of older mounds to the North, now known as Huacas "San Marcos" (Middendorf's no. 16, 18, 19, see Shady and Narvaez 1999, 2000), Concha (no.17) and Middendorf (no. 15) respectively. A: the city of Huadca at the center, with Huaca "La Palma" (no. 6) F: containing the very large Huaca 10 in the South—then known as "El Estanque" or "El Castillo" and identified by Middendorf as the "Templo del Rimac"—and now called "Huaca Pando" or "Huaca Tres Palos". Huaca "La Luz", consisting of two small buildings, is probably also located in its vicinity. I am unsure about the location of another pyramid, the Huaca "Maranga", which contained Middle Formative pottery and was razed to the ground during the construction of the Feria del Pacifico (Shady 1983): on Middendorf's plan, in area D, there is a square building numbered 15 (not to be confused with Huaca no.15 in his section G) and named "Maranga", but we are given to understand that this is the Hacienda Maranga, not that it is a huaca? Areas B, C, and D contain a variety of smaller buildings, most of them huacas dating to the LIP and the LH, which appear in the literature, like Huacas "Cruz Blanca", "San Miguel", "La Cruz" etc. Though the site was already occupied during the Formative, the large mounds to the north were mainly built during the Early Intermediate and extensively reused as cemeteries from the Middle to the Late Horizon. Jijón y Caamaño (1949) excavated in two locations of the northern area: Huaca III (or No.15 on Middendorf's plan, see 1973: vol. II, p.57), now Huaca Middendorf, and Huaca I (mainly Middendorf's no.16, possibly also the adjacent nos.18, 19– now the Huaca San Marcos, see Narvaez n.d.). Kroeber also excavated at Huacas III and I, his—and Middendorf's—Huacas 15 and 16 “at Aramburu”, after the Hacienda of that name (Kroeber 1954: 10-13). Further excavations were undertaken by the Instituto Riva Agüero at Huaca "Tres Palos" (or "Pando"). A number of pottery figurines excavated by Jijón y Caamaño come from construction phases 4 and 5 at Huaca III (or 15). Ceramics associated with this phase range—backwards in time—from Chancay "Black-on-white" to wares such as: "Decorado a Molde" (press-molded, MH2-4 and later), "Buchero" (black ware, MH1-4 and later), "Cajamarquilla" (MH1-2), "Negativo" and "Negro sobre rojo" (Lima, all phases). The highest percentage (23%) is Chancay "Black-white-red", i.e. Chancay Tricolor (Jijón y Caamaño 1949: 70, 174 ff.), but of a type which, according to the author, differs from that found at Chancay and Ancón (1949: 311-312). Jijón's stratigraphy must be regarded with scepticism (Kroeber 1954:108-113). Kroeber only published the Nievería-style material from his excavation at Huaca 15, which he calls “Proto-Lima”. But he had removed 71 “late graves” (dating from the Late Intermediate and the Late Horizon) to reach the earlier graves (1954:11)! Apart from some short notices, the excavations by the Instituto Riva Agüero at Huaca "Tres Palos" have not been published. MARQUEZ, CHILLÓN VALLEY This name, which appears quite often as a provenance, especially for late Chancay figurines, is that of a large hacienda on the left bank and at the mouth of the Rio Chillón. The area is now invaded by shanty towns, but was still agricultural in the early 1970s when I visited it. I have not been able to find an early map showing the exact extent of the hacienda, but within its limits were located a large number of archaeological sites, some of which are shown on a map published by Stumer (1954b: 222). Successive excavations were carried out by Uhle, Kroeber and Stumer. Unfortunately we can only guess at the exact location of the excavations. Uhle mentions the following locations for his excavations (for the excavated figurines see Appendix 1, UPMP: Uhle):

•

“Marquez, Northern part of valley” or "North Corner" could be either the area of three huacas or the site of “La Capilla”, a Chancay cemetery (Stumer 1954a:173-

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•

• •

174) located a little further north on Stumer’s map. I suggest it may be the former, since Uhle would probably have used a name for that sector, had it had one. “Huaca in the southern corner of the valley of Marquez”. That sector shows three cemeteries and the “Pampa de Animas” site, “dominated by two tapia (poured adobe) structures of unmistakable Incaic influence”, and an “Inca-Chancay” and “Inca” cemetery (Stumer 1954a:177). Uhle’s huaca could be one of these two structures—the figurines from this area are consistently late (see Chancay sg. 1.6)— though it is surprising that he does not use the site name. So perhaps it is a different location. “El Palmo” (also referred to as Cerro El Palmo, Huaca El Palmo)—on the right bank of the Chillón, originally probably also part of the Hacienda Marquez—is described by Stumer (1954a: 173) as a cemetery of limited size, resulting in a large amount of intrusive graves. The ceramic styles encountered here are Teatino, Tiahuanacoïd III (corresponding to 3-colour geometric) and Chancay (presumably the black-on-white variety, since Stumer does not speak of red- or black ware). This area is also the object of a municipal Informe (Rivas Otaiza y Luján Dávila 2011). Kroeber excavated at “Cemetery A”, which I have not been able to locate. The site of "Huaca" or "Capilla Marquez", where Luján Dávila excavated several figurines (see C155/Chancay sg. 1.6.1A-associated/Pl.76 and C154/Chancay sg. 6.3/Pl. 96) is on the south bank of the Rio Chillón, very near its mouth, indicated by a square, and marked "Marquez", i.e. the Hacienda Marquez, on Stumer's map (1954b:222).

PACHACAMAC, LURÍN VALLEY

The large site dominated by the Temple of the Sun is situated at the mouth of the Lurín Valley, 31 km south of Lima. Occupied since the Formative, it probably became an important sanctuary during the Early Intermediate Lima culture. Over the last century and a half a number a number of excavations have been carried out 1, until recently concentrating mainly on ceremonial and elite structures and the activities at the site during the MH and the LH, "without considering in depth how theses monumental structures interacted functionally and socially with other areas of the site, in particular with those lacking monumental architecture" (Shimada et al., 2010: 112, my translation). The actual role of the famous oracle, its changing importance and political use over the centuries is also a subject of discussion (see f.i. Lopez Hurtado 2011: 23-30). Because of the numerous publications, I will only concentrate on the excavations which have yielded figurines, with a brief review of the main monuments: According to Patterson (1966:113-115) an EIP 7/8 structure or structures underlay the eastern part of the Temple of the Sun, with a second structure of roughly the same period located about 250 m east of the Temple of the Sun. In the late 1980s, some excavations were carried out at the Templo Viejo, to the south-east of the Temple of the Sun (Franco 1993), identifying it as the main sanctuary during the Early Intermediate. Between these two structures lies the Temple of Pachacamac or Huaca Pintada, built during MH2 or slightly earlier and housing an important idol, the oracle of Pachacamac, which was still venerated at the time of the Conquest. The large temple enclosure, excavated by Uhle, and surrounding both the Temple of Pachacamac and the Templo Viejo, appears to predate the Temple of Pachacamac and may have been associated with the earlier structures. More recently it is the Pyramids with Ramps, dating to the LIP, that have been the object of intensive excavations and study. The 15 complexes have been interpreted as embassies of various ethnic groups worshiping the local deity and occupied more or less simultaneously. But another model, more widely accepted following exhaustive excavations, especially at one

1

For an extensive review and bibliography, see Shimada et al., 2010. 335

of the largest of them, Pyramid III, is that of palaces of the local chiefs of the Ychsma polity, occupied successively, a hypothesis strengthened by carbon dates (Michczynski et al. 2003). ADOLPHE BANDELIER'S EXCAVATIONS AT PACHACAMAC:

In 1892 A. Bandelier paid some local people to undertake excavations at Pachacamac. The location of these is described as "at the foot of the so-called Castillo, though rather high up on the slopes". According to P. Paredes, curator of the site in the 1980s, the "Castillo" is another name for the Temple of the Sun. In his Field Notes (Typescript MS at AMNH, pp. 204-205) Bandelier describes this cemetery:

"...I went with Arana and with his men to where he was excavating, at the foot of the so-called "Castillo", though rather high up on the slopes. There are two tiers of graves on the upper grades of this slope. The upper tier is thickly studded with mummies, the latter are rather crowded, "poor", and with only a few adobes or broken rocks between body and body. Mats and canes cover and surround the mummies. This tier is mostly 6 feet high, but increases as the slope reaches upwards, so that there are other tiers higher up. The lower tier is in chambers of adobe, usually 6 feet high...In these lower chambers the bodies are placed, sometimes as many as 10 and 14, with adobes and rock bewteen and with pottery (good and common) etc. etc." According to the AMNH catalogue, there are 963 pottery objects from this excavation at the AMNH (nos. B1 to B963): ...from the ruins of Pachacamac, found associated with mummies in graves and not in the buildings. They were found in the...lower tier of graves which were chambers...at an average depth ...of 12 ft. About these chambers were other graves or rather an accumulation of mummies; these fell to pieces on being unearthed".

Amongst the objects excavated at Pachacamac, I was able to record four figurines belonging to different epochs (early and late Middle Horizon and Late Horizon) which must come from the different strata described above. MAX UHLE'S EXCAVATIONS AT PACHACAMAC

Uhle estimated that there were between 60.000 and 80.000 graves at Pachacamac (1903: 12). His own excavations covered three main sectors: Sector 1: The Temple of Pachacamac Uhle encountered a very large number of graves dating from the early Middle Horizon to the Late Horizon in the temple enclosure, his "Gravefield I". His stratigraphy and pottery from the site have been further elucidated by Strong and Corbett (1943: 34-36) and dated by Menzel (1964: 54). But note that during their excavations in that area in 2005 Shimada and his team found at least four different episodes of huaqueo (Shimada et al. 2010: 132). As the majority of figurines with documented provenance come from this area, a short outline of the stratigraphy is given here (see Uhle 1903:19-45 and Plates 2-5); a useful sketch of this area is shown in Strong and Corbett (1943: fig.2): • Beneath the present day ruins of the temple of Pachacamac, Uhle found the walls of the earlier temple structure. Below the later structure, in front of the earlier structure, but at levels deeper than it, Uhle uncovered the earliest graves "u" (Uhle 1903: chapter X, XI). This area is referred to in his field notes and catalogue as the "oldest part of Gravefield I" (OPGI). The pottery, described by Uhle as "Tiahuanaco" and "Epigone" (both styles can occur together in the same tomb), is dated by Menzel to MH2B and MH3 (1964: 53-54). The Pachacamac style of MH2A is represented by a single gravelot. Uhle also found sherds and a vessel of the EIP "Interlocking" (or Lima) style, probably coming from the EIP structure below the Temple of the Sun (see above). • Still underneath the later temple, but above this older cemetery, in "superposed soil" to raise the ground, further graves "v" were found, referred to as "beneath the Temple of Pachacamac" or "graves in the new soil" (Uhle 1903: Chapter XII). The pottery here is listed as "Later Pre-Inca period" which "...continued the retrograde movement of the preceding (that is "Epigonal") period" and is dated to MH3-MH4 and the Late Intermediate (Menzel 1964: 54), though late Middle Horizon specimens are predominant.

336

• In front of the later temple, near the surface, were found a certain number of Late Horizon burials (Uhle 1903: Chapter XIII). • Finally, the largest number of graves were found in the area lying in front of both the older, buried structure and the later Temple of Pachacamac (Uhle 1903: Chapter XIV). Uhle refers to it as "Gravefield I" in his field-notes and catalogue. The pottery here—with a few exceptions—is of the same type as in the “new soil”(see above) and also referred to as of the “Later Pre-Inca Period", and must date to MH3/4 and the Late Intermediate. One figurine fragment even dates to the late LIP or the Late Horizon (1479/Pl.106/Ychsma sg. 2.2A). Sector 2: Inca cemetery north-west of the town This was an “untouched” cemetery outside the walls of the ruined town. It yielded many Late Horizon vessels, one pottery figurine (Uhle 1903: Chapter XVII) and a ceramic litter. Note that a large number of Late Horizon figurines, excavated later, also come from this general area (see Chapter 10). Sector 3: The Temple of the Sun Various exploratory cuts were made in this area and a Late Horizon cemetery was excavated, but no figurines were found in this context (Uhle 1903: Chapters XIX, XX). EXCAVATIONS BY THE

"PROYECTO ARQUEOLÓGICO PACHACMAC": PLAZA DE LOS PELEGRINOS

(Shimada et al., 2004, 2010) The Plaza was laid out during an Inca restructuring of a vast area (65 by 320m.) in front of the Inca Ushnu. This had obviously long been a sacred area, because of its close proximity to earlier temples, such as the Templo Pintado or the Templo Viejo. The new lay-out, aimed at creating a new sacred geography, with the Temple of the Sun at its center, had led to the burying of many earlier structures, dating as far back as the EIP (Shimada et al., 2004: 511ff, Figs.1, 3). Having assessed the overall lay out of the buried remains with the aid of radar, subsequent excavations revealed an extremely complex state of affairs. To give but one example: Trench 1, which showed cultural strata up to 7 m. deep, was excavated to the depth of 1.8 m. in which "We documented 31 levels, without counting the numerous re-plasterings and the layers of fill...Nine of these levels showed a clear sequential superposition...The remains buried below the Plaza de los Pelegrinos date from end of the MH to the end of the LH" (ibid., p. 516). PUEBLO VIEJO-PUCARÁ, LURÍN VALLEY is situated 15 km inland from Pachacamac, in one of the quebradas on the left bank of the Rio Lurín. At an altitude between 400m and 600m, it benefited from the seasonal damp lomas climate, more pronounced during the LH than now, and allowing a permanent occupation of the site. The site, consisting of five main groups of structures and two satellite sites, as well as canalizations and agricultural terracing, covers approx. 12 ha. The various sectors of the site are described in detail by Hernandez Garavito (2008: 15ff). On the basis of architectural details and ceramic finds it can be dated entirely to the LH (Makowski 2002b) and appears to have been abandoned shortly after the Spanish Conquest. It was probably a settlement of mitimaes from the Huarochiri area, being the main centre of the ayllu of de Caringas of Huarochiri, whose señores administered the left side of the valley and the lomas which extended as far as the Chilca valley to the south. The excavations, undertaken by the Proyecto Arqueológico-Taller de Campo “Lomas de Lurín” PATL under Prof. Makowski since 1999, have investigated four of the five sectors of the site, producing many doctoral dissertations. No fewer than 76 figurines, provided by the PATL have been included in this study (Makowski 2002b; Makowski and Vega Centeño 2004; Cordova Palacios 2011 and others).

337

APPENDIX 3 GRAVELOTS

Section 1: Tables listing the Gravelots Section 2: Plates illustrating the Gravelots

339

341

2

1

Original No.

AMNH 509/41.A

Willey 1943a:140

Source

Tablada Grave 381: pit with lateral chamber; no marker; seal. Tablada Grave 201: pit with lateral chamber; marker; seal.

C.F.381-C5 2. Sector SE-A Data provided by K. Makowski U. de Exc: S 1040-107 E 70-75

C.F.201-C52. Sector SE-A U. de Exc: S 100-107 E 55-60

C117

C118

1

1

1 adult in foetal position, badly preserved 1 child under 7 years

1 infant, indeterminate sex, aged between 1 and 2 years; seated, flexed; orient.: Southeast

1 infant, indeterminate sex, aged between 3 and 5 years; seated, flexed; orient.: Northeast

1 child over 7 years, cranial deformation

1

1

1

2

1

1 female, 25-30, badly preserved

1 adult female,35-40 ; 2 infants under one year of age.with "deformación tabular erecta"

1

2 miniature vessels; 1 vessel; 1 bowl

Ovoid bottle; ellipsoid vessel; 2 miniature plates,

2 cooking vessels, 1 plate, 1 cantimploras, 1 monkey head, part of vessel,(see Cárdenas 1999: Foto 49, lower left), 1 handle-and-spout vessel with monkey figure* (see Makowski et al 2012: 17f).; 1 drum; 1 small ceramic mask; 2 potters dishes. 1 plate, 1 cantimplora, 1 bowl,

1 cantimplora

1 cooking vessel; 1 cantimplora 1 modelled vessel

3 cooking vessels, 1 plate, 4 bowls, 4 potters dishes, 1 jar, 1 cantimplora; 1 miniature jar.

No

Grinding stone; paws of guinea-pig; 2 pumice stones; valve of Fisurella (a marine gastropod); necklace with metal; ear-rings with metal. Agrupación de tipo C [?] Bones of a bird; necklace (Type D); ear-rings with metal.

metal plates, snails, 1 bone burin

1 bone bodkin; 4 shell plates (or pendants); 1 stone mace

No

No

4 metal plates;

1 dye (? "colorante"); 4 olives, 4 metal plates, bones of small animal, 1 bone needle,

Shell, unfired lumps of clay

1 black, white, orange bowl 1 infant, flexed, wrapped in 1 (ibid. Pl.6.e), textiles, covered by white-slipped 1 bee or 1 similar bowl (ibid.Pl.6.f) jar. bird (ibid.fig.9j)

1 adult in foetal position, badly preserved

Other items

Figs

Ceramics

Burial

--

--

See Source

See Source

See Source

See Source

See Source

See Source

See Source

Plate

Unless I made an error, when first provided with the data by M. Cárdenas E 199, containing 808/0189, was numbered E 193; the same applies to E 01, containing 802/00190, originally E 26. The figurines in both grave 381 and 201 have the same specimen number on the "Ficha de Gabinete" provided by the PUCP

Data provided by K. Makowski

Excavations of the Proyecto Tablada PUCP

Tablada, Grave 58 – Protected by stone slabs Depth 1.65 m.

Cárdenas 1999: 280 + Lám. 104 Tablada, Grave 199 Protected by stone slabs Depth 2.80 m Orientation: East Cárdenas 1999: 280 + Lám. 106 Tablada, Grave 203 Protected by stone slabs Depth 1.90 m Orientation: East Cárdenas 1999: 247+ Lám. 76 Tablada, Grave 01 Protected by stone slabs Depth 1.90 m Orientation: West Cárdenas 1999: 238+ Lám. 72 Tablada, Grave 154 Depth 1.50 m Orientation: East Bad state of preservation Cárdenas 1999: 360+ Lám. 176 Tablada, Grave 258 Protected by stone slabs Depth 1.60 m Orientation: East.

Cerro Trinidad, Pit VI, level 11, 2.75-3.00 m

Site, Grave

Cárdenas 1999: 237 + Lám. 69

Tablada 00187-E 58

Tablada 00188 -E 154

803

807

Tablada 00190 -E 01 (originally E 026) 1

802

Tablada 01735 -E 258 Tablada 01737- E 258

Tablada 01236 -E 203

804

806 805

Tablada 00189 -E 199 (originally E 193?) 1

808

Excavations of the Instituto Riva Aguero

Necrópolis de la Tablada de Lurín

2139

Cerro Trinidad, Chancay

No.

GRAVELOTS TO CHAPTER 3 (1): THE FIGURINES OF THE EPIFORMATIVE (LATE FORMATIVE AND EARLY PART OF THE EARLY INTERMEDIATE PERIOD)

342

1

C.F.202-C7. Sector SE-A U. de Exc: S 100-107 E 55-60 C.F.8 – C3. Sector SE-A U. de Exc: S 95-100 E 40-45

C119

C.F.03 - C4. Sector NE-A Data provided by K. Makowski U. de Exc. N 126-129 E 127-133

Data provided by K. Makowski

Tablada Grave 03: pit with chamber at the bottom; marker, seal,

Tablada Grave 202: pit with lateral chamber; marker; seal Tablada Grave 08: simple pit, no marker, no seal

Site, Grave

No associated grave goods were described in the data provided

C121

C120

(cont.)

Data provided by K. Makowski

PUCP 1

Source

Excavations of the Proyecto Tablada

Original No.

No. 1 infant, indeterminate sex, aged between 6 and 12 months; sitting, flexed; orient.: East 1 infant, indeterminate sex, aged between 6 and 7 years; sitting, flexed; orient.: Northeast hematite on the face and feet. 1 infant aged between 3 and 5 years; indeterminate sex; sitting, flexed; orientation: Northeast

Burial

1

1

1

Figs

1 miniature vessel; 1 bean-shaped (frejoloide) bottle (Type 1)

1 miniature vessel; 1 bean-shaped (frejoloide) miniature bottle

1 vessel; 1 ovoid bottle.

Ceramics

Earrings

Metal ear-rings; 2 armbands; 1 necklace; 1 olive

2 earrings with metal; whistle; necklace (type C).

Other items

--

--

--

Plate

GRAVELOTS TO CHAPTER 3 (2): THE FIGURINES OF THE EPIFORMATIVE (LATE FORMATIVE AND EARLY PART OF THE EARLY INTERMEDIATE PERIOD)

343

Source

A. Amador [1997]: Fig. 3, F

C127

Jijón y Caamaño 1949: 30-32, 473; fig. 217

Jijón y Caamaño 1949: 30-32, 473; fig. 217

P469

MSP n/n

2336

P468

HMB 4-9210a

2015

Uhle excavations (Gayton 1927: 314) Mogrovejo y Segura 2000

Falcon and Amador 1997; A. Amador [1997]: Fig. 3, E

C126

Grave 40 Cerro Culebras, Chillón Valley

Grave 12 Cerro Culebras, Chillón Valley

Grave 2 Cerro Culebras, Chillón Valley

Maranga, Rimac Valley Huaca III, Grave CLXI

Maranga, Rimac Valley Huaca III, Grave CVII

Nievería, Rimac Valley Grave 19 Huaca Tello, Cajamarquilla, CF 8

1 individual, extended on litter (originally flexed sitting) 1 mummy bundle, body in extended supine position 1 extended prone body

No data

Infant

Infant, 8-10 months, wrapped in textiles, attached to a litter, buried face down

Infant

Burial

Lima Group 3: Late Lima Figurines associated with Nieveria or Maranga pottery

A. Amador [1997]: Fig. 1, A : Fig. 1, B : Fig. 2, C : Fig. 2, D

C122 C123 C124 C125

Site, Grave

12

11

2 (one lost) 1

1

1

4

Figs

1 jar (LMB 4-9209) * (Gayton 1927: Pl.96d 1 jar with neck * 1 small bowl * 1 double-spouted jar ? (Spouts broken) * 1 undecorated plate 1 bottle with conical spout (ibid. fig. 7)*

No data

3 miniature vessels: 2 bowls, 1 bottle

No data

Ceramics

2

The figurine is mentioned on p.473 as coming from burial CVII, but is not listed amongst the grave goods of CVII on pp.30-32. The figurine is mentioned on p.473 as coming from burial CLXI, but that burial is said to contain no grave goods on p. 36. * Illustrated

1

Original No.

Lima Group 1: Miscellaneous Lima Figurines

No.

Other items

No data

--

G1

G1

No data No data

G1

--

See Source

--

Plate

No data

2 small Spondylus plaques (3x2.5 cm, 3x2 cm) and 9 rectangular Spondylus beads near the head; another 7 conical Spondylus beads in the neck area; 1 small basket; 1 small matt; 1 feather. Several plain cotton textiles. No data

No data

GRAVELOTS TO CHAPTER 4: FIGURINES OF THE LIMA CULTURE AND THE ASSOCIATED MARANGA AND NIEVERIA STYLES

344

Original No.

UPMP 28438 (Uhle 1049)

1533

Source

Site, Grave

HMB 4-5963

2008

Uhle: MS Inventory Vol. VII, p.? : nos. 5954-5964

Uhle : MS Inventory Vol. VII, 45: nos. 6178 to 6190 2 ;

1 woman; others?

Ancón Grave P25

Ancón Grave P6

3

no data

1

HMB 4-5942

MCP n/n (P.8571?)

2007

874

Source

Inventario Vol. XII, p.?

La V (11) V

La V (9) V

830

P476

Villacorta and Tosso 2000: 105 + photos 16, 26.

Specimens stored at MPCS; see also Villacorta and Tosso 2000: 106, and Foto 18.

Group 2: Teatino Figurines

5

Uhle: Inventory, Vol. VII , p.33: nos. 5937 to 5954

Lauri V, Grave 9: Straight pit, max. depth 1.05m

Lauri V, Grave 11: Bootshaped tomb with lateral chamber, max. depth 1.70m

Ancón 1 T. 665

Ancón Grave P5

Site, Grave

1 infant, sitting flexed, facing south

1 child, sitting, flexed position, facing east

1 child

no data

Burial

1

1

1

1+ 1

4

Figs

La V (11) III : Teatino bottle* La V (11) IX: Teatino mamiform jar* IV, VI, VII, VIII, IX, X: 5 further vessels (2 miniatures) II: cup, IV: vessel representing a parrot, VI: bottle

5937*: “Bottle with face and lobsters” (Strong 1925: Pl. 46l); 5938: Flat bottle; 5939: Small bottle (sic!) (Ibid: Pl.46p) 5940: Bottle, painted; 5941: Red bottle, old type, engraved; 5943: Bottle, similar; Cooking pot; 5946-8: Plates P.8572*: Miniature jar

Ceramics

6178*: Black bottle (Strong 1925:Pl.46b) 6179*: Red bottle; 6180a,b*: Painted plate; 6181*: Small engraved pot; 6183 : Small cup. 5954*: Painted pitcher (Strong 1925:Pl. 46d); 5955 : Engraved bottle; 5956 : Bottle with handle (ibid: Pl. 46e); 5957-8: Small pitchers; 5959: Small red pot; 5960-1: Small plates; 1 cooking pot.

1: wooden grave marker (Ibid., p.99).

XII, XIII: pieces of carved wood

5949-5954: Shell with red pigment; 2 Mytilus shells + fragment of third with red pigment; Several Mytilus shells as spoons; Two spindle whorls; Parts of necklace; Eyes of the head of mummy bale. No data recorded

Other items

1 necklace of shell beads.

6185-6190: 1 spindle with whorl ; 7 spindle whorls (one golden!); bone awl; 4 olivella shells; conical stone sprinkled with lime.

Textile pouches, baskets, gourds with remnants of food, spindle rods. 2 shell plaques and small gold plate 1

Other items

--

G2

G2

G2

Plate

G2

G2

G1

Plate

2

Uhle notes that the shell plaques and gold platelet may have been mistakenly added to this gravelot. Strong erroneously gives the provenance of a double-spouted jar (1925:Pl.47b, no. 4-6160) as Grave P25. In fact it comes from Grave P24 (see also Menzel 1964:note 325). 3 In the inventory of Grave P6, under no. 4-5963, Uhle writes: “Black figure of clay (old type) (or is it P5, 10?)”. Strong 1925:190 lists 4-5963 as from Grave P6. 4 In the inventory of Grave P5, under no. 4-5945 a b c, Uhle writes: “Other figure of clay, three pieces”. This figure, not located at HMB, could be 2008 (see note 2), though it consists of 2 pieces. 5 This figurine is identical with P.8571, drawn and described under grave T.665 from Ancón.

1

Original No.

No.

Group 1: Miscellaneous Hybrid Figurines

Ceramics 1 bottle, 1 cup

GRAVELOTS TO CHAPTER 6: TRANSITIONAL EARLY-LATE MIDDLE HORIZON GROUPS 1, 2

HMB 4-6184

2009

1

1 Mummy bundle, 1 (on litter) containing the body of a 1, wooden 12-year old infant (on litter)

Figs

Pachacamac, oldest part of Gravefield I

Burial

Sub-Group 2.2: Figurines related to Wari-Pachacamac and to other local traditions

UPMP Catalogue; Fleming, Miller, Brahin 1983

Sub-Group 2.1: Figurines belonging or related to the Wari-Pachacamac style

No.

GRAVELOTS TO CHAPTER 5: EARLY MIDDLE HORIZON SUB-GROUP 2: WARI-PACHACAMAC AND RELATED FIGURINES

345

867

P.8055

P.8150 (MNCP) (as above)

as above

HMB 4-5871 HMB 4-5872 (Uhle excavations) (Excavations by MNAA)

2011 2062

P.1415

HMB 4-5870 (Uhle excavations) Probably from the same grave as 2011, 2062 below

(Uhle) 4-5707 (Uhle excavations)

P474

2012

HMB 4-5716 (Uhle excavations)

Original No.

Inventario Vol.?, pp.?

Inventario Vol.?, pp.? (See also Diario, vol. XII, p.?)

Inventario Vol. V?, pp.37-40

Uhle MS Inventory vol. VII, p.28

Uhle MS Inventory vol. VII, p.27

Strong 1925: Pl.49g; Kaulicke 1983: Abb. 55.A2

Uhle: MS Inventory vol.VII,p.17 see also: Uhle 1913; Strong 1925; Menzel 1977; Kaulicke 1983: Abb. 57B

Source

MPCS La V (3) VI Specimens with relevant (Horkheimer excav.) numbering at MPCS; see also Villacorta y Tosso 2000: 102 La V (4) III Villacorta y Tosso 2000: 102, (Horkheimer excav.) foto 4

2014

P475

831

No.

Ancón 1, T. 619

Ancón 1, T. 614

Ancón 1, T. 105

Ancón “Site M or T”: although the exact location of the grave or graves is not given, Uhle's Inventory gives the details listed here. See also Strong 1925:178179 and 181-182. Ancón “Site M or T” as above, gravelot to 2012

Ancón, grave T 11 (This grave is not shown on Strong 1925: fig.8)

Site, Grave

Lauri V (Socavón), Grave 3: Boot-shaped tomb with lateral chamber, max. depth 1.85m. Lauri V (Socavón), Grave 4: Boot-shaped tomb with deeper lateral chamber, max. depth 1.85m Ancón, Grave T 7

1 aged female

1 adolescent (others?)

1 aged male, 1 young female? 1 skull of adolescent.

Contents of small mummy bale of child

Small mummy bale of child

No data recorded

No data available

Burial

One young individual, seated, flexed position, facing east. Child, seated in flexed position, facing southeast.

Figs

Ceramics

La V (3) I: Teatino-style face-neck*; II: Tumbler*; III : pot*; IV, V, VII: plates. La V (4) I: Vessel, II: bottle

1+ 1 = 866/P.8149 Chancay sg.1.1.4

1 (others?)

1

2

1+1 = P477 / Late MH Sg. 2.2 (Strong 1925: Pl. 49f) 1

P.1400 : bowl*; P. 1402: Face-neck*; P.1405: Vessel “Spondylus*”; P. 1407: Jar with handle*s; P.1408: Vessel of mother and child*; 2 further vessels; 4 ceramic spindlewhorls P.8051*: Face-neck (Spondylus); P.8052*: Face-neck; P.8053*: Bottle + many other finds, not recorded. P.8143*: Face-neck P. 8140*: Globular jar 6 further vessels?

5869: "Small vessel, found at neck of mummy"

5704: Globular vessel *

5717: Red square polishing stone found at upper edge of grave; 5719: 3 spindle whorls; 5721a: “Nose and eyes of the small head of mummy bale”; b: 2 Mytilus shells; c: earth; d: Small silver plate; e: tube with grey powder; 5722a,b: Club with star of stone, handle inlaid with small shells; 5723: Stick painted red , black; 5724: Weaving sword; 5726: Spoon of shell. No data recorded

IV, V VI: Engraved gourds

Other items

VIII, IX, X: gourds

G3

G3

Data not recorded

Maize, yucca. Data incomplete.

G3

G3

G3

G3

G3

-

G2

Plate

Bone and stone spindle whorls, some stringed together; Bone ruquina

No

5864: Medicine bags hanging outside de mummy bale; 5865: Woolen poncho, wrapping mummy; 5866, 5867: Fragments of the stuff in which the mummy had been wrapped; 5868: Necklace of beads.

1 (found inside 5710: Spondylus bottle *; mummy bundle) 5711: "Reddish cup" = Kaulicke Abb.57B3? 5712: Striped bottle *; 5713: similar *; 5714: similar, smaller ; 5718a/b: "Two big ear-plugs of clay of the real mummy “ *

1

1

GRAVELOTS TO CHAPTER 7(1): LATE MIDDLE HORIZON GROUP 1: THE SUPE FIGURINES

346

P.8747 MNCP (Excavations by MNAA)

Original No.

P.11314

as above

P.8965 P.8958 P.8966? (MNCP) (as above) P. 11187 as above P. 11200

1047 1046 868

864

No.

Inventario Vol. IX or X, pp.43-45 (nos. 11300-11319?)

Inventario Vol. IX or X, pp.24-28 (nos. P.11171 to P.11201)

Ancón 1, T. 879

Ancón 1, T. 873

Ancón 1, T. 680

Inventario Vol. IX or X, pp.?

Site, Grave

Ancón 1, T. 674 – Faja 68

Inventario Vol. VIII, pp.1-4 (nos. P.8745 to P.8771)

Source 1

Figs

Ceramics

Other items

P. 8745 *, P. 8767*: Tumblers; P.8753*: Broad gold bracelet; P.8746*: Pedestal plate; P.8754: necklace of white and red shell P.8748*: Bottle with press-molded bird; fragments with turquoises; P.8749*: Miniature bottle; P.8755: small flute; P.8766*: Miniature double-vessel; P.8758: necklace of shell fragments, turquoises, 2 or more further vessels P.8762: 2 spindle-whorls; P.8764*: Pair of ear-plugs with incised birds. Various fragments: stone, llipta (coca balls) Not recorded 3 P. 8985*: Bird vessel, with effigy spout 1 female and strap handle; 1 adolescent female P. 8986*: “Spondylus” face-neck; 1 adolescent male Further plain vessels. 10 skulls; other bones 2 adults 2+1 P.11171*: Face tumbler; P.11173: Stone mortar; P.11180: Funerary 1 new-born child in small = P.11174*/ Late P.11175*: Whistling jar with head; mask with wooden nose and shell eyes, with fardo (P. 11196*) MH sg..2.2/Birds P.11179*: Jar with lateral handles black pupils in resinous paint (description); P.11182*: Miniature face-neck; P. 11185, P.11190: 3 stone spindle whorls; P.11194*: Black on red tumbler P. 11189: bone awl; P.11199*: Bottle with press-molded bird P. 11192: Mytilus shell; 3 further plain vessels. P. 11195*, P.111201: 2 gourds; 1 adult skull, bilobed; 1 P.11308*: Bottle, striped, broken handle; P. 11315: Mytilus shell; 1 dto, slightly bilobed P. 11310*: Face-neck with Spondylus P. 11316: 2 wooden noses (as attached to 1 infant skull, slightly body; masks); bilobed; P. 11311*: Jar with handle; P. 11317: small shell beads, black, white red; 1 adolescent skull, with 6 further vessels, plain P. 11318: 3 eyes (ditto), shell, lozenge traces of red colour. shaped, with black pupils; P. 11319: 3 spindle whorls;

Burial

Fardo A: infant Fardos B, C: adult males Fardos D, E, F: adult females

GRAVELOTS TO CHAPTER 7(2): LATE MIDDLE HORIZON GROUP 1: THE SUPE FIGURINES

G4

G4

G4

G4

Plate

347

B 5334 (Bandelier excavations)

1788

Source

Strong 1925: Pl. 49f

UPMP 28442/1079b (Uhle excavations)

P477

1516

UPMP Inventory

Uhle MS Inventory Vol. II, p.10

A Supe-Pachacamac Hybrid

HMB 4-5613 (Uhle excavations)

2001

Sub-group 2.2: Supe-Huaura Hybrids

AMNH Catalogue

Pachacamac, Oldest part of Gravefield I

Ancón - Grave M 12

Ancón - no data

Site, Grave

1, on the breast of the mummy

1 + 2: 1785/Late MH sg 3.1; 1 lost.

Figs

5611*: "Bottle, red, with small engraving, found inside the mummy"

1 “pot with two handles and nearly pointed base” containing the other objects, including 3 figurines "worn or broken".

Ceramics

See below 1 and Chapter 7 1"clay doll in poncho"

1068*: Clay flask with face; 1069*: Flask with cat in relief; 1070 ? 1071 *: Pot with line-pattern ornamentation in relief; 1072: Pot with plain design in relief lines; 1073*: Pot with simple design in relief lines, containing partially prepared cotton; 1074: Tripod, feet missing; 1075: Plain bottle; 1076a,b: Plain pot, somewhat different shape; 1077: Plain bottle, containing lucuma seed; 1078a: Plain pot; 1078b: Plain pot, with 1078c cotton seeds; 1078d: Plain pot

See Gravelot of P474/Pl.G3 – Gravelots to Supe figurines

Mummy, no other data

No data

Burial

1079: Working basket 2, containing: 1079a: whorl of bone, 1079b: clay doll in a poncho, 1079c: shell for ornament from bag with miscellaneous contents (see below), 3 1079d: embroidered fragment, 1079f: small painted bowl, 1079g: companion of former; 1080: String made of beans, also contained a translucent pink stone-bead and a small malachite corn-cob; 1081: Small bird carved out of wood; 1082a: Hair pin of wood with animal head; 1082b: Ditto with human face; 1082c: Ditto with wood carving; 1082d: Ditto; 1083a,b: Combs; 1083c: Cut piece of shell; 1083d: ? 1083e: Ball of yellow yarn; 1083g: Plaited cord; 1083h: Ball of white cotton yarn; 1083: i,j? 1083k: Embroidered border; 1083l : Beans; 1084: Embroidered human figures; 1084a: Two pieces of embroidered stuff; 1084b: Blue cotton cloth

5610 a-c : "Sword-like wooden implement, painted, with piece of fabric attached"; Found inside mummy: 5612 : "Mytilus shell, from the neck" 5614 : "Hair, loose"

3 corn cobs a small piece of cloth

Other items

G5

G5

G5

Plate

"From a mummy. Four-headed (sic) grave in an adobe chamber. The mummies are partly those of children and are apparently partly put in layers... (The skull) P55 belongs to the mummy from which nearly all objects come. This skull has the teeth ground to a remarkable degree (probably from chewing corn meal for the fabrication of chica (sic)". 2 The contents of the basket are listed under "1079/ 28200: working basket with contents, some with other numbers”, the latter being 3791a-e: x 3791a-e: Embroidered human figures; 3791d-g: Embroidered animal figures. 3791h: Embroidered fragment. x Amongst the contents of the working basket not numbered separately are "25 balls of thread and yarn, some cloth fragments, 14 needle-like sticks, one long and one short, flat, double pointed stick, two long sticks with thread... “ 3 The basket also contained “a small bag containing some leaves, miscellaneous other things, the tooth of a monkey, a small pouch, two small pieces of a plant, all wrapped in a piece of stuff. A piece of cloth, containing small beads of shell, small ornamental stones, small pieces of a shell, and what appears to be a piece of sodalith".

1

Original No.

Sub-group 2.1: Supe-Teatino Hybrids

No.

GRAVELOTS TO CHAPTER 7 (3): LATE MIDDLE HORIZON GROUP 2: SUPE-RELATED HYBRIDS

348

Original No.

Idem

P.8313

P.1849

869

AMNH B 5334 [B]

Idem

Idem

1785

P.9752

P.11174

Sub-group 3.2: “Birds”

Sub-group 3.1: "Cats"

No.

Inventario, Vol. XII ?

Inventario, Vol. XII, p.?

Inventario, Vol. V ? p.110

Source

1

1

Figs

P.8314: Ceramic ear-plug with anthropomorphic figures; P.8316*: Handled jar with stripe decor; P.8317*: Vessel with bird head; P.8324: Painted plate; Various other vessels

P.1848*: Vessel with handles

Ceramics

1 aged adult 1 infant

1

P.9749*: Cup with bird head on rim. Cream on terracotta (upper part), molded (lower part); P. 9761*: Bottle, Teatino style, brown; P. 9762*: Similar, lower neck

see Gravelot of 1788/Pl. G5: Late MH sg.. 2.1: Supe-Teatino Hybrids

Adult female

2 infants

Burial

Other items

No data recorded

Total: 17 objects

P.8315: Sewing basket; Spindles etc.

No

see Gravelot of P.11187 and P.11200 – Ancón 1, T.873/Pl.G4 (Late MH Gr.1: Supe)

Ancón 1, T. 727

Ancón 1, T. 633

Ancón 1, T. 163

Site, Grave

GRAVELOTS TO CHAPTER 7 (4): LATE MIDDLE HORIZON GROUP 3: ANTHROPO-ZOOMORPHIC FIGURINES ("CATS", "BIRDS/FISH")

G4

G5

G5

G5

Plate

349

Original No.

MNCP P.9619

MNCP P.6490

859

877

Source

P.5682

Diario, Vol. XI, p.53

Ancón 1, T. 405

1 infant, five years old; 1 new-born Fardo "A": Infant Fardo "B": Adult female

Burial

98

MHP 78.2.110

Wiener 1880: 652 [1993: 694]

Ancón

1 infant: small fardo, wrapped in cotton and covered by a rush mat

no data

Figs

2: P.5682 P.5685*

2 figurines + 1 wooden figurine

P. 5681: Miniature jar with handle*

P. 9618: Cooking vessel, black, H: 11.0 cm

Ceramics

Other items

P. 5683: Mate, containing carbonised cotton; P/5684: 2 small reed tubes—on either side of the body—filled with a whitish substance; P. 5686: Puro, plain.

Bundle of reeds; Reed bag; 2 reed tubes, with wood stoppers, containing paint 4 Figurines: P.6472: Cooking vessel, terracotta, H.:14.0 cm P.4673*: Putito, H: 6.0 cm; P.4682: Wooden weaving implements; P. 6483*-Cream, P.6474*: Pitcher, terracotta, H: 15.0 cm H: 17.0 cm; P.4675: Vessel, terracotta, H: 8.0 cm P.4684: Bundle of small wooden sticks – average length: 6.6 cm; P.4676: Cup, terracotta, H: 50 cm. P.4686: Wooden kalwita Length: 31.0 cm; P.6485*-Terracotta P.4677: Vessel, terracotta, H: 6.0 cm + black, H:20 cm P.4678*: Vessel, terracotta with horizontal P.6487: Small burnt mate, Diameter: 16.0 cm; (= probably black lines, H: 9.8 cm; P.6495: .Mussel shell containing traces of red paint; 878/Huaura Gr. 4 P.6479: Cup, terracotta H:6.0 cm P.6480: Vessel, terracotta, H: 12.0 cm P. 6497: Scallop shell, traces of red paint, 8.0 x see Chapter 8) P.6481*: Beaker, terracotta with black, H: 7.0.cm 8.0 cm.; P.6487*- wood, P.6488: Cup, terracotta H:5.0 cm P. 6500: Shell beads: H: 7.0cm P.6492*: Beaker, terracotta with black, H: 10.0.cm 3: 2.0 x 2.0 cm 5: 1.0 x 0.5 cm P.6493: Vessel, terracotta, H: 8.5 cm; P.6490 = 877 36 small chaquiritas P.6494: Vessel, terracotta, H: 9.0 cm; P.6496: Plate, terracotta, Diameter: 7.0 cm; P.6498: Plate, terracotta, Diameter: 16.0 cm;

1

Late MH-Early LIP Unaffiliated Figurines Group 2: Miscellaneous Unaffiliated Figurines

876

Ancón 1, T.463 – Faja 71

Ancón 1, T.718

Site, Grave

Late MH-Early LIP Unaffiliated Figurines Group 1: Related to Supe, Huaura?

Inventarrio Vol. VI, pp. 178181

Inventarrio Vol. ?

Huaura Group 3: Figurines with elongated head

No.

GRAVELOTS TO CHAPTER 8: LATE MIDDLE MORIZON -EARLY LIP : HUAURA FIGURINES AND UNAFFILIATED FIGURINES

G6

G6

G6

G6

Plate

350

MNAA P.11299

1075

Site, Grave

Burial

MCP P.6630

Inventario vol. XII, p.?

Inventario vol.?

Ancón 1 , T. 532

Ancón 1 , T. 962

1 infant

No data

Inventario vol. VI, pp.198-200 (Nos. 6622 to 6638)

Ancón 1 , T. 473

1 infant

MCP P. 9655

BCM 245’58

EMB VA 38515

1148

C 144a

Bethlen [1986] : Workbasket 10 (size not given)

BCM Catalogue

Ravines 1981: 142-144

Inventario vol. XII, pp.?

Lima

Andahuasi, Huaura V. WORKBASKET EMB VA 38511

1 infant, flexed with "fronto-occipital bilobal cranial deformation" - in cotton fardo, tied with totora rope. 1 skull

1 woman (others?)

Ancón 1 , T. 852

P.9644: 3-colour geometric vessel with bird head appendage; P.9646: Cooking vessel; P.9647: miniature vessel; P.9652: Cooking vessel; P.9654 1: Vessel, similar to P.9644

1+ P.9651b*, unfired clay

No data

1+ P.11053*/ Chancay 6.3; P.11050* P.11051* P.11054*

1 small clay owl

P. 11042*: Miniature jar , cream slip; P. 11045*: Miniature jar with black stripes on cream slip; P. 11044*and 4 similar miniature vessels (kiln wastes?)

1 + 2 clay figurines: C 144b: VA 38514/ sg. 1.2.4 C 144c: VA 38513/ Gr.5

1

Illustration in Ravines (1981:145) wrongly gives the number for this vessel as 9646 (cf. description of 9654).

Inventario vol. IX or X, pp.5-7 P.11055 is described as: ...represemtación doble de miembros superiores, dos extendidos y dos vueltos al pecho, la cabeza adornada por círculos plásticos en toda su extensión y provisto por cuatro agujeros...

P.8093*: Jar with handle (3-colour decor?); P.8094*: Jar with handle (3-colour decor?); P.8107*: Goblet with fish design; P.8132*: Goblet with fish design; P.8134*: Cup with base and step design; 13 further vessels

P. 11047: Putu* P.11056: Basket*; P.11057: Wool sling; P.11058: Fragment of woolen textile; P.11059: Brown hair, in a net made of hair ! P.11060: Bone point* , partly wrapped in cotton thread and filled with thread.

Basket*; spindle whorl; 2 balls cotton,; bone flute*;bronze point tied with cotton onto a bone. 35 spindles: 15 painted, ceramic whorls; 11 painted, ceramic whorls, cream thread; 9 plain, cream thread; 2 needles; 2 balls thread (one grey, 1 cream); 1 copper ring;1 soft fibre plaited pouch; 1 leather, woven cloth and cord sling ; 1 small wooden spoon, 1 woven textile ribbon, bird motif; 1 woven textile bag, bad condition

P.9645: Bundle of reeds; P.9649: Necklace of shell and ceramic beads; P. 9650: 4 Maize cobs; P.9651a: Spindle whorl

Various spindles; 2 Sewing baskets (costureros); Potatoes, etc. (The tomb contained at least 40 items)

P.6631*: Necklace of 5 stone beads with clay figurine and small snail; P.6634*: Comb made of thorns of gigantón (?); P.6635*: Two small stone vases (height 1.9 cm) P.6636*: Mother of pearl plaque with four perforations (2.0 cm x 1.9 cm); P. 6637*: Necklace of five shell figurines (incl. a bird?)

P.6622*;: Miniature pot P.6623*: Plate, cream slip; P.6626*: Miniature jar; P.6627*: Jar, cream slip; P.6629*: Figure of dog, cream slip; P.6631*: Plate, cream slip; P.6638*: Plate, outside cream , inside red and black lines on orange.*

1

No

No data

Other items

P.11301: cantaro, 3-col. geometric style; 5 further vessels No

Ceramics

See Gravelot of 867, Late MH Gr.4: Supe, in Gravelots to Chapter 7

Ancón 1 , T. 712: Excavated in archaeological midden. Cubic chamber, 60 cm. by 1 m. depth, roofed over with a rush mat.

Ancón 1, T. 618

(=hunchback)

+ P.6628*1

1 + 1 wooden

1

Figs

1 + P. 6624 * (= 871/Chancay 1.2.4-atypical) + P.6625*1

Chancay sub-group 1.2.4: Early cuchimilcos with two sets of arms, miscellaneous wares

MCP P.8149

862

MCP P. 8128 ?

866

863

Chancay sub-group 1.1.4: Early cuchimilcos with folded arms: miscellaneous wares

870

Chancay sub-group 1.1.3: Early cuchimilcos with folded arms: black-on-white

P.7276

P.11055

1

Source

Chancay sub-group 1.1.1: Early cuchimilcos with folded arms, epigonal-derived wares

Original No.

No.

GRAVELOTS TO CHAPTER 9 (1): THE CHANCAY FIGURINES

G8

G7

G7

G7

G3

G7

G6

--

--

Plate

351

Original No.

EMB VA 36029

C 145a

Source

Site, Grave

Burial

Figs

Marquez, Chillón Valley

WORKBASKET EMB VA 36028 (55.5 x 29.0 x 14.5)

1 + C 145b: EMB VA 36030 LIP unaffiliated

3 jars; 1 animal figurine; 2 rough bowls

Ceramics

MCP P.7427

871

873

Ravines 1981: 155-156

Ancón 1 , T. 555

1 Fardo; indeterminate age.

1

No

HMB 4-6492 HMB 4-6493

HMB 4-6437

Uhle: MS Inventory vol. VII, pp. 71-73 (page 72 missing); Kroeber (1926b: 267) lists items from grave B2 as no. 6451-6496

Uhle: MS Inventory vol. VII, p. 71; Kroeber 1926b

Lauren (Lauri) grave B 2, Chancay Valley (Uhle excavations)

Lauren (Lauri) grave B 1, Chancay Valley (Uhle excavations)

1 (found 15 vessels listed, including: inside fardo) a face-neck, vessels in the shape of a dog and of a monkey, bowls, etc.

1 Fardo with artificial head.

No data

6434: Large pitcher in shape of sitting figure; 6435: ditto * (Kroeber 1926b: Pl.80B); 6438: Vase with a cat (Kroeber 1926b: Pl.80E); 6439*: Vase, striped; 6440: Vase, half black, half white, with cat, cover of 6438; 6441: Smaller similar one; 6442: Cup, with monkey (Kroeber 1926b: Pl.82B); 6443, 6444: Plates, broken; 6445: Small bowl; 6446*: Figure of llama; 6447, 6448, 6449: Red pot, tall; 6450: Red pot, round. 2+4 6454*: Large jar; = 6465*: Vase; 1994*/1.4.2; 6466: Jar (Kroeber 1926b: Pl.81F); 2061*/1.4.2; 6475 *: White cup; 1996*/2.3; 6477*: Bowl with stylized monkeys; 1995*/3.1 6482: Head fragment of face-neck (Kroeber 1926b: Pl.82A); 6486: Vase (Kroeber 1926b: Pl.81B).

1+1 = 1993* (4-6436)/ Chancay sg. 1.4.2

No data

MPCS-87/ La(2)XVI Cornejo 1985: App.1,pp.9-12; App.2, pp. 10-12;.

MPCS 83- La (12) XL Cornejo 1985: App. 1, pp.3840; App. 2, pp. 39-45

843

839

Lauri Grave 2 , Chancay (Horkheimer excavation); grave-goods arranged on three levels. Lauri Grave 12 , Chancay (Horkheimer excavation). Rectangular tomb at 0.80 m from surface. 3 Levels of offerings: at -2.5 m, -3.5 m., - 4.5 m. 1 fardo with artificial head, containing adult; 1 fardo of child.

1 + 1 La (12) XXXVII, (similar, not recorded) both found inside the fardo

La (12) I*: Vessel with bird La (12) III *: Vessel with animal adorno La (12) VII*: Ditto; La (12) IX*: Ditto with monkey; all from Level 1. A further 31 vessels in levels 2, 3, including: one face-neck, 2 aríbalos, bottles, bowls, plates.

Chancay sub-group 1.4.1B: Classic black-on-white cuchimilcos – small cuchimilcos with heads higher than wide

1997 1998

1992

Chancay sub-group 1.4.1A: Classic black-on-white cuchimilcos – small cuchimilcos with heads wider than high

EMB VA 38514

MCP P. 6634

C 144b

See Gravelot of C 144a, Chancay 1.1.4 (above) See Gravelot of 870, Chancay 1.1.3 (above) Chancay sub-group 1.3.4: Early cuchimilcos with extended arms, miscellaneous wares

Bethlen [1986]: Workbasket 23 (Length: 55.5 cm, Width: 29 cm, Height: 14.5 cm)

Chancay sub-group 1.2.4: Early cuchimilcos with with two sets of arms, miscellaneous wares (cont)

No.

GRAVELOTS TO CHAPTER 9(2): THE CHANCAY FIGURINES

No other items recorded

No data

G10

G10

G9; Kroeber 1926b

G9; Kroeber 1926b

No

Data on missing inventory page?

See Source

G6

G7

G8

Plate

No

46 spindles with reed whorls, copper needles etc; 4 bundles of yarn wrapped reeds; several textiles; bone weaving tools; 1 spondylus shell; 1 thorn needle; 1 corn cob wrapped in thread.

Other items

352

2

1

Original No.

HMB 4-6371

MPCS-85 Pg(4)XXX

HMB 4-5547

EMB VA 43394

1990

836

2000

C 147a

Source

Site, Grave

Burial

Figs

Ceramics

According to Strong 1925: Pl. 49b, this figurine comes from Ancón Grave 1 (Uhle excavation). But see also Strong 1925: 173 and Uhle's Inventory. Pachacamac

Pisquillo Grande, Grave 4 Chancay Valley (Horkheimer excavations)

La Mina Grave A1 Chancay Valley

WORKBASKET EMB VA 43378

No data

No data

1+ C 147b = EMB VA43397/ sg.2.1 C 147c= EMB VA 43396/ sg. 6.1b

2 ceramic spindle whorls; clay pendant, hollow

1+1 6361*: Face-neck; =1991*/ 6362*: Similar, flute player; 4-6372/ Sg.3.1 6363*: Black face-neck ; 6364*: Black and white vase; 6365*: Vase, striped; 6366*: Vase, unpainted; 6367*: Vase with suckling kittens; 6368*: Small pitcher “with eye-shaped ornaments”; 6369*: Vessel with cat ; 6370*: Bowl with birds; 6373*: Figure of llama; 6374 a*-c: Plates. (Note some discrepancies with Kroeber 1926b numbering) 1+ 1 Pg (4) XLVII*: Face-neck; 835*/ Sg. 2.3 Pg (4) CXII*: Ditto ; (others?) Pg (4) CL*: Ditto ; Pg (4) CCXXVI*: Cooking pot ; Numerous further vessels - very large gravelot! 1 5546c black-on-white jar (Strong 1925: Pl. 43c; Kaulicke 1983: Abb.56 F2)

FMC 168820 (1588/572)

Kroeber: MS Inventory nos. 569 (168817) to 575 (168823)

Figurine not recorded See A. Rowe 2014: 170-178.

1595

Cemetery A, Marquez

Child’s mummy

1

569*: Large jar; 570*: Small jar “with mummy”; 571*: Low, flaring goblet, grey; 573: Very small pot “with mummy”.

See Gravelot of 1992, Chancay sub-group 1.4.1A, from Lauri Grave B1 (above) Chancay Sub-group 1.6.1A/ associated: Cuchimilcos in red wares

1994 1993

Chancay Sub-group 1.4.2: Classic black-on-white cuchimilcos – Large cuchimilcos 2061 See Gravelot of 1997, 1998, Chancay sub-group 1.4.1A, from Lauri Grave B2 (above)

Bethlen [1984]: Workbasket 16 (size not given)

Uhle MS Inventory vol. VII, p.5: (nos. 5543-5587): "Objects found in the graves on the top of the mound". No single grave listed, some objects described.

Vessels recorded at MPCS

Uhle: MS Inventory vol. VII, p. 67; Kroeber 1926b

Chancay sub-group 1.4.1B: Classic black-on-white cuchimilcos – small cuchimilcos with heads higher than wide (cont.)

No.

GRAVELOTS TO CHAPTER 9(3): THE CHANCAY FIGURINES

574*: Wooden shovel ; 575 a,b,c: Plain cloth, belt, 2 ears of maize.

60 spindles; cowrie and sponduylus shells, shell disk; bone flute; wood: pin, spoon, stick with carved ends; copper "death mask" (ear); 1 sling, 1 pillow, 1 red, yellow and blue belt, 1 crochet figure, 1 fringed textile, 1 white pouch with band pattern, 1 other pouch, 1 woven ribbon, 1 chequered cloth, 1 fine net bag with bird motif, 1 mass threads, mass of unspun cotton acting as bed for the other objects.

No data

6375: “Package of flutes and feathers for festivals, tied in thin cloth”. 6387: Wooden digging stick; 6389 a-c: 3 small gourd bottles; 6391: hoofed animal foot; 6394: bone needle; 6395: stone in the shape of a corncob; 6397 a-e: 5 round black stones; 6398: stone in the shape of a corncob. In addition there are numerous textiles, including three tunics of highland origin (6402a, 6403f, 6406) 2.

Other items

G11

G9

G9

G11

--

G11

G10

Plate

353

Original No.

Source

Site, Grave

HMB 4-5774

Strong 1925

Ancón Grave T 2 (Uhle excavations) There is some doubt about the exact location and numbering of this grave and its contents (see Strong 1925: 181)

HMB 4-5851

Uhle: MS Inventory, vol. VII, p.27 Strong 1925

Ancón Grave E 1 (Uhle excavations)

No data

Infant

Burial

1

1

Figs

5852: Small vessel; 5856: Small bowl, “white striped black” (Strong 1925: Pl.43d).

5771: Black-and-white toy vessel ; 5772: Llama (Strong 1925: Pl. 43 g)

Ceramics

MPCS-89 Pg(3)XXVII

Vessels recorded at MPCS

Pisquillo Grande, Grave 3, Chancay (Horkheimer)

No data

1 + others?

Pg (3) XXXIII*: Black-on-white jar; Pg (3) LXXXIII*; Larger, ditto; Pg (3) CVI*: Jar, white, black on red, with toad; Pg (3) CXVII*;: Face-neck, black-on white Pg (3) CXXIII*: Ditto; Pg (3) CXXVIII*: Jar, red, black on buff;

LMB 4- 6496

Pg(4 )XXXI MPCS-93 La (4) LII MPCS-92 La(4)XLVIII MPCS-95 La(4)LXIV MPCS-82 La(4)XLIX MPCS-91 La(8)X

No data

C 144c

EMB VA 38513

Lauri, Grave 8, Chancay, (Horkheimer)

Lauri, Grave 4, Chancay (Horkheimer)

Small fardo

Large rectangular fardo with artificial head; Two dogs.

1

La (8) I - La (8)VIII: various vessels (cream, black-on white)

4 (3 standing, La (4) XIV*: Jar, black-on-white; 1 sitting ) + 1 La (4) XVI *: Ditto, smaller; (= La (4) LI , A further 41 vessels. not recorded) All found inside fardo

No data

No data

See Gravelot of C 144a, Chancay 1.1.4 (above)

See gravelot of 1997, 1998, Chancay sub-group 1.4.1A, from Lauri Grave B2 (above) + 1994, 2061/sg.1.4.2, 1995/Gr.3

Cornejo 1985: App. 1: pp.26-28; App. 2: 25-26.

Vessels recorded at MPCS Cornejo 1985: App.1, pp.16-18; App.2, pp. 13-22.

Chancay Group 5: Personage with Helmet

1996

844

845 840

837 838

Other items

5847: “Many sorcerer sticks, wound with thread”; 5848: “Many spindles, partly with reed, partly with whorl of clay”; 5849: Cotton and threads; 5850: String with wool; 5854: Different samples of stuff; 5855 ab: Two cat heads found in the soil of the grave; 5857: Necklace of small shells; 5858: Upper jaw of a sea liom.

No

Chancay Sub-group 2.3: Black-on-white figurines with elongated head (Phases 3, 4) 835 MPCS-88 See gravelot of 836, Chancay sub-group 1.4.1B from Pisquillo Grande, Grave 4

834

C 147b

Chancay Sub-group 2.1: Early figurines with elongated head and folded arms EMB VA 43397 See Gravelot of C147a, Chancay 1.4.1B (above) Chancay Sub-group 2.2: Early figurines with elongated head and extended arms

2063

Chancay Sub-group 1.6.1C: Cuchimilcos in red wares

2013 (aaaoc,)

Chancay Sub-group 1.6.1A: Cuchimilcos in red wares (cont.)

No.

GRAVELOTS TO CHAPTER 9(4): CHANCAY FIGURINES

G7

G12

G12

G11

G11

See Strong 1925

See Source

Plate

354

Original No.

EMB VA 43396

C 147c

EMB VA 43394

Bethlen [1984]: Workbasket 15 (Length: 28.5 cm, Width: 12 cm, Height: 6 cm.)

See Kroeber 1954:33, note 2.

C 156

C 145b

LIP Unaffiliated Figurines

P.11053 Inventario vol. IX or X, pp. 5-7

1

Source

Site, Grave

Chuquitanta, Chillón V.

Chancay Group 6: Small, hand-made, solid figurines ("Spooks")

No.

Figs

Ceramics

1+ 1 stone figurine (EMB VA 25863) see Fig. 63 in text

see C145a/Chancay sg. 1.2.4

WORKBASKET EMB VA 25810 (size?)

13 spindles with painted ceramic spindle whorls,

See Gravelot of C147a, Chancay 1.4.1B (above) See Gravelot of P.11055, Chancay 1.2.4 (above)

Burial

GRAVELOTS TO CHAPTER 9(5): CHANCAY FIGURINES, LIP UNAFILLIATED FIGURINES

23 spindles with whorls and/or thread; 5 skeins thread (2 yellow, 1 dark ochre, 1 red, 1 blue); 3 crocheted objects (1 bird, with apparently human hair incorporated into head and back, 1 bird-yellow, green, red) 1 unidentified; 1 pouch red and black diamond pattern with striped edge. filled with peanut pods; 1 mass of thread; 1 small copper sheet.

Other items

--

G8

G8

G11

Plate

355

2

1

Original No.

--

FMC 169173 (Kroeber 1588/953)

P569

1584

MSP TVI-1964-16 (Italian Expedition)

Catalogue nos. 41.2/5128 to 41.2/5203: "End of so-called (sic!) gravelot", followed by 541.2/204, 41.2/5205

See Kroeber 1954:33, note 2

AMNH 41.2/5176

Narváez 2004

Kroeber: MS Inventory p.20

Jijón y Caamaño 1949:51-54

Jijón y Caamaño 1949:58, 312

Source

“Rimac

No data

Two infants, sitting position, in two small fardos Youth, ca 15 years, in large fardo, (containing several of the listed objects) “With Mummies 15-S-6”- 2 m. deep 1

Burial

Valley?” 5202: mummified right arm with tattooed or painted hand and wrist, wrapped with hanks of cotton yarn... ; 5203: mummified head of small child; 5204: Mummified right arm, similar to 5202; 5205: Mummified adult head, placed in 3-section plainweave cloth.

Cajamarquilla, Rimac Valley

Mound 15, Aramburu (Maranga, Rimac Valley)

Grave XCIV or XCV, H.III Maranga, Rimac Valley Grave XLII, Huaca III Maranga, Rimac Valley

Site, Grave

1+ 41.2/5175: wooden figurine, female, 16 cm.

1

2 pottery whistles

Four pottery jars : 2 Ce-0200 (TVI/1) (Narvaez 2004:366); Ce-0279 (TVI/6) (Narvaez 2004:361-362); Ce-0207 (TVI/11) (Narvaez 2004:364); Ce-0202 (TVI/20) (Narvaez 2004:366-367).

1 spherical jar (Fig.30); 1 composite jar (Fig.31): 3 cooking vessels; 1 bottle; 1 miniature vessel

1 (fig.32) +2 1

1 globular vessel

Ceramics

1 (fig. 38)

Figs

Numerous textiles (e.g. 14 belts); bales of cotton, spindles, work basket, 2-bar loom, string cross, quipus; wooden spoon, spinning cup; carved wooden feline; shell and silver beads, many silver pins, disks, copper pins; 11 maize cobs.

--

G12

--

--

2 engraved mates; 1 copper needle ; Balls of thread 952: Bales of thread; 953: Bone bead; 954:”Prayer cane” filled with paint, from inside mummy; 955: Ditto “from outside?”; 956: “Thread wound cane (cross?)”; 957: Cloth fragment

--

Plate

No data

Other items

In the publication (Narvaez 204) the captions to the illustrations are placed above them, sometimes on the preceding page!, which can lead to confusion

1378

Ychsma Sub-Group 2.1B

704

Ychsma Sub-Group 2.1A

--

P568

Ychsma Group 1

No.

GRAVELOTS TO CHAPTER 10: THE YCHSMA FIGURINES

356

MNCP A1/P.6606

879

Diario Vol.?, pp.37-42

MNCP A1/P.5185 MNCP A1/P.5185 3

Inventario vol. VI, pp. 18-19 (nos. P. 5181 to P.5189)

Published no. = Sp. An 26/76g)

Ravines and Stothert 1976:

Ancón 1, T.?

Ancón 1, T.362

1 fardo

1 fardo

1 adult skull, 1 ditto of child Roofless chamber, 1 fardo

Roofless chamber, 2 fardos

Burial

Original No.

Kroeber MS Inventory (16 June 1925)

1581

2

1

Site, Grave

Marquez, Cemetery A, Excavation H3

Ancón 1, T.786

The leg fragments were not recorded p.161 missing in my documentation 3 Both figurines bear the same specimen number

FMC 168957 (Kroeber 1588/734)

Inventario vol. XII?

Source

P.10326

Group 2: Funerary litters

No.

“Mummy 109: Girl’s head, tongue preserved by copper"

No data recorded

Burial

Figs

1

2

1

1+ 1 (= P.10333*) 1

Figs

2 (identical)

1: fragments of head and of legs 1.

GRAVELOTS TO CHAPTER 12: CERAMIC CRADLES - LITTERS - PALANQUINS

P590

Late Horizon Sub-group 1.2C

860 861

Ancón 1, T.472

Site, Grave

Inventario vol. VI, pp.160-161 2 Ancón 1, F.72, pilfered grave Inventario vol. VI, pp 97-98 Ancón 1, T.422

Late Horizon Sub-group 1.2B

MNCP A1/P.6329 MNCP A1/P.6330 MNCP A1/P.5823

Late Horizon Sub-group 1.2A

857 858 1048

Source

Inventario vol. VI, pp.194-197 (nos. P.6598 to P. 6621);

Late Horizon Sub-group 1.1

Original No.

No.

GRAVELOTS TO CHAPTER 11: THE FIGURINES OF THE LATE HORIZON

Ceramics P. 10323*: Jar with incised decor around the neck 735 (168958) *: Small jar, “possibly from Mummy 107”

2 face necks, 1 jar, 1 bowl.

P.5181*, P. 5183*, P. 5184*: face-necks; P. 5187*: ditto, with stylized fish; P. 5182*: neck-jar with applied and painted animals.

P.6331*: neck jar. (Others?) P. 5824* : neck jar with applied puma heads; P. 5825: similar, smaller; P. 5828 *: face neck.

P. 6601,* P.6602*, P. 6605*, P. 6607*, P.6608*, P. 6609 *, P. 6612*: face-necks; P.6602*: Jar with appliquéd serpent; P. 6604*, P. 6610*: Jars with painted felines; 1 further vessel, damaged.

Ceramics

G14 G14 “1 prayer stick by each cheek [of the girl], and guinea pig skull from inside the bundle”; “4 wooden awls or spindles from front of the bundle inside”

Plate

See Source

G14

G14

G13

G13

Plate

No items recorded

Other items

Sewing implements, textiles, nets, vegetal remains etc.

1 sewing basket; 4 spindles (3 with spindle whorls); 1 spondylus fragment

2 putus (one with felines and birds); 2 sewing baskets; 76 spindles (33 with spindle whorls); 9 symbolic sticks (sic) wrapped in cotton thread; 1 small textile bag.

Information missing (see note 2)

8 mates with lids, containing foodstuffs; 1 putu; 8 maize cobs.

Other items

2015 (4-9210a)

2336

Gayton 1927: Plate 96d

Nieveria Grave 19 (Uhle excavations)

P468

Jijón y Caamaño 1949: fig. 217

Huaca Tello, Cajamarquilla, CF 8 (PAC excavations)

____________________________

Jijón y Caamaño 1949: Fig. 7

Maranga - Huaca III, Grave CVII, (Jijón y Caamaño excavations)

Mummy Bale UPM 26626/1044

__________________________________________

1533 (UPM 28438/1049) (retouched) H: 25 cm

UPM 28440/1050

(rough sketch) H: ca 25 cm

Gravelot of 1533 – Early MH sg. 2.1

UPM 26801/1052b orange – H: 11.2 cm

UPM 28267/1045 H: 24 cm

UPM 28076 H: 39 cm

Mummy bundle with some contents, from Gravefield I, Pachacamac – Uhle excavations (not to scale) Plate G1: Gravelots to Lima Group 3 and Early MH Sub-Group 2.1 357

2009 (4-6184)

4- 6179 4- 6178 (H: 21.5 cm) (H: 18 cm) Ancón Grave P25 ←

2008 (4-5963)

4-6180 4-6181 (H: 19 cm) (H: 13 cm) Uhle excavations →

4-5954 (H: 13 cm) Ancón Grave P6

Gravelots to Early MH Sub-group 2.2: Wari-Pachacamac related figurines

2007 (4-5942)

4-5937 4-5939 (H: 21 cm) (H: 16 cm) Ancón Grave P5 (Uhle excavations)

4-5941 (H: 17 cm)

874 = P.8571

P.8572 (H: 7 cm) Ancón 1 - T.665 (MNAA excav.)

Gravelots to Transitional Early-Late MH Gr. 1: Miscellaneous Hybrid Figurines

830 = La V(11)V

La V (11) III (H: 20.5 cm)

La V (11) IX (H: 25 cm)

Lauri V/ Socavón – Grave 11 (Horkheimer excavations): (for further vessels see Villacorta and Tosso 2000: foto 18)

Gravelot to Transitional Early-Late MH Gr. 2: Teatino

831(La V(3)VI)

La V(3)I (H: 20 cm)

La V(3)II (H: 8 cm)

Lauri V/ Socavón – Grave 3 (Horkheimer excavations)

La V(3)III (H: 15 cm)

Gravelot to Late MH Gr. 1 : Supe

Plate G2: Gravelots to Early MH Sub-group 2.2; Transitional Early-Late MH Groups 1 and 2; Late MH Group 1: Supe (1) 358

2014 (4-5716)

4-5710 (H: 18.5 cm)

4-5712 (H: 16.5 cm)

P474 (4-5707) P477 (4-5709) 4-5704 (H:?) (Late MH Gr.1) (Late MH sg.2.2) Ancón Grave T11 - Uhle excavations

P. 1415 (H: 13 cm)

4-5713 (H: 17.0 cm)

Ancón Grave T7 – Uhle excavations

P.1400 (H: 8.5 cm)

P. 8055 (H: 12 cm)

867/P.8150 (15.7 cm)

P.1402 (H: 12.3 cm)

2012 (4-5870) 2011 (4-5871) 2062 (4-5872) (all Late MH Gr.1/Supe)

Ancón grave from Site T or M (Uhle exc.)

P.1405 (H: 11.8 cm)

P.1407 (H: 16 cm)

Ancón 1 - T.105 (MNAA excavations)

P. 8051 (H: 20 cm)

P. 8052 (H: 17 cm)

Ancón 1 - T.614 (MNAA excavations)

P.8140 (H: 9.8 cm)

4-5715a (H:?)

P.8143 (H: 17.5 cm)

Ancón 1 - T.619 (MNAA excavations)

P.1408 (H: 15 cm)

P. 8053 (H: 12 cm)

866/P.8169 (Chancay sg.1.1.4)

Plate G3: Gravelots to Late MH Group 1: Supe (2) – with Late MH sg. 2.2, Chancay sg. 1.1.4 359

864/P.8747 (H: 16.6 cm)

P.8753 (H: 5.5 cm)

1047/P.8958 (H: 15.4)

P.11187/H: ?

P.8745 (H: 11.5 cm)

P.8759 (H: 3.7 cm)

P.8746 (H: 5.9 cm)

P. 8764 (Size : ?)

P.8748 (H: 22.4 cm)

P.8766 (H: 6 cm)

Ancon 1: T. 674 (MNAA excavations)

1046/P.8965 (H:12.6)

868/P.8966? (H:15.7)

P.8751 (H: 5.5 cm)

P.8767 (H: 10.8 cm)

P. 8985 (H: 14.8 cm)

P.8986 (H: 25 cm)

Ancon 1: T. 680 (MNAA excavations)

P. 111200/H:15.5 cm

P.11179 H: 20 cm

P.11182 H: 11 cm

P.11196/H: 33 cm

P.11188 H: 4.2 cm

P.11171/H:20cm

P.11194 H: 13 cm

P.11174/ Size?

P.11195 Diameter: 12 cm

Ancón 1 – T. 873 (MNAA excavations)

P.11175/H: 5.5 cm

P. 11197 H: 18.5 cm

P. 11199 H: 4.3 cm

Ancón 1 – T.879 (MNAA excavations) P.11314/H: 14.5 cm

P.11308/H: 17.4 cm

P.11310/H: 12.4 cm

P.11311/H: 14.2 cm

Plate G4: Gravelots to Late MH Group 1: (MNAA excavations)Supe (3) 360

1788 (B5334)

1785 (B5334 - sic!)

2001 (4-5613)

Ancón Grave excavated by Bandelier Gravelot to Late MH sg. 2.1: Supe-Teatino and sg. 3.2: "Birds"

1516 (1079b)

1068 (H: 21cm)

1069 (H:23 cm)

1071 (H: 10cm)

Gravelot to Late MH Gr. 2: A Supe-Pachacamac Hybrid from Pachacamac- Gravefield I – Uhle excavation

P.1849 P.1848 (H: 14.6 cm)

Ancón 1 – T. 163 Gravelot to Late MH sg. 3.1: "Cats"

P.9752

4-5611 (H: ca 15 cm)

Ancón Grave M12 - Uhle excavations Gravelot to Late MH sg. 2.2: Supe-Huaura Hybrids

869 (P.8313)

P.9749 (H: 5.8 cm)

P.8316 (H:?)

Ancón 1 – T.633

P.9761 (H: 18.5 cm)

Ancón 1 – T.727 Gravelots to Late MH sg. 3.2: "Birds"

1073 (H: 14cm)

P.8317 (H:?)

P.9762 (H: 17.5 cm)

Plate G5: Gravelots to Late MH Groups 2:Supe Hybrids; 3:"Cats", "Birds"

361

P. 9618 859 (P.9619)/Huaura Gr.3 __Ancón 1 – T. 718 (1:4) (MNAA excavations)

P.6473

P.6474

P.6622 (9.5 cm)

P.6485 = 878? (Huaura Gr.4)

P.6478 P.6480 P.6481 Ancón 1 – T. 463 (1:4) (MNAA excavations)

876 (P.5682) P.5681 (7 cm) P.5685 (4 cm) Unaffiliated Gr.1 Ancón 1 – T. 405 ) (MNAA)

870 (P.6630) 1:4 Chancay sg. 1.1.3

877 (P.6490) P.6483 Huaura Gr.3

P. 6492

98 (1:4) Unaffiliated. Gr.2 Ancón Gravelot (after Wiener 1880: 652)

871 (P.6624) 1:4 P.6627 (14.5 cm) Chancay sg.1.2.4 (Atypical).

P.6623 (6 cm)

P.6487

P.6629 (14 cm)

P. 6637

P.6625 (8.5 cm) P.6626 (9 cm) P.6628 (6 cm) P.6631(4.5)

Ancón 1 T.473 ) (MNAA excavations

Plate G6: Gravelots to Late MH-Early LIP Huaura Groups 3 (and 4?); Late MH-Early LIP Unaffiliated Grs. 1, 2; Chancay Sg. 1.1.3, 1.2.4 362

A

863/ P.8128 (1:4) Chancay sg.1.1.4

P.8093 (17.0 cm)

P.8094 (23.0 cm)

P. 8132 (9.5 cm)

P. 8107 (9.5 cm)

P.1834 (size?)

Ancón 1 – T.618 (MNAA excavations)

862 / P.9655 (1:4) P.9644* Chancay sg.1.1.4 (17 cm) *) Decor - see Ravines 1981: 143, 143

P.9646 P.9647 (11.8 cm) (8.5 cm)

P.9652 (9.5 cm)

P. 9654* (11.5 cm)

P.9651a (6.8 cm)

Ancón 1 – T.712 (MNAA excavations)

Gravelot of 1148/sg.1.1.4 from Andahuasi, Huara V.

C 144a (1:3) Chancay sg.1.1.4

C 144b (1:3) C 144c (1:3) sg. 1.2.4 (atyp.) Group 5

Found together in Bethlen [1986]: Workbasket no. 10

Plate G7: Gravelots to Chancay Sg. 1.1.4

363

P.11055/sg, 1.2.4

P.11047 (6.5 cm)

P.11042 (8.2 cm)

P.11044 (9.5 cm)

P.11048 (6 cm) P.11049 (2.2 cm)

P.11052 (4.7 cm) P.11053 (6.8 cm) sg.6.3

P.11054 (7 cm)

P.11045 (5.8 cm)

P.11050 (10 cm)

P.11056 (16 cm)

Ancón 1 – T.852 ) (MNAA excavations)

C 145a/sg. 1.2.4

C 145b/LIP Unaffiliated

Found together in Bethlen [1986]: Workbasket 23

Plate G8: Gravelots to Chancay Sgs. 1.2.4, 6.3

364

P.11046 (6.5 cm)

P.11051 (10.5 cm)

P.11060 (14 cm

4-6442 (13 cm)

1992/4-6437 sg. 1.4.1A

1993/4-6436 sg.1.4.2

HMB 4-6435 (55 cm)

HMB 4- 6438 (38.5 cm)

4-6446 (8 cm)

HMB 4-6439 (33 cm)

Lauri – Grave B1 – (Uhle excavations)

1997/4-6492 sg.1.4.1A

1998/4-6493 sg. 1.4.1A

HMB 4-6454 (37.5 cm)

1994/4-6451 sg.1.4.2

HMB 4-6465 (19.5 cm)

2061/4-6452 sg. 1.4.2

HMB 4-6475 (10.5 cm)

HMB 4-6477 (14.5 cm)

1996/4-6494 1995/4-6495 sg.2.3 (1:5). sg.3.1

HMB 4-6482 (ca 18.0 cm)

Lauri – Grave B2 – (Uhle excavations)

Plate G9: Gravelots to Chancay Sg. 1.4.1A (with sgs. 1.4.1, 1.4.2, 2.3, 3.1)

365

843/La(2)XVI (1:3) Lauri Grave 2 (Cornejo 1985:App.1, p 10) Sg. 1.4.1B

839/La(12) XL (1:4) sg.1.4.1B

VII (57 cm) XXVII (35.3) III (33 cm) I (35 cm) IX (30 cm)

Lauri Grave 2 ←Horkheimer excavations → Lauri Grave 12

1990/HMB 4-6371 Sg.1.4.1B (1:4)

HMB 4-6361 (35 cm)

HMB 4-6367 (16 cm)

HMB 4-6362 (32 cm)

HMB 4-6368 (18 cm)

1991/HMB 6-6372 Sg. 3.1 (1:4)

HMB 4-6363 (33 cm)

HMB 4-6369 (10 cm)

HMB 4-6364 (20 cm)

HMB 4-6370 (7 cm)

HMB 4-6365 (19 cm)

HMB 4-6373 (length 14 cm)

HMB 4-6366 (30 cm)

HMB 4-6364a (diam. 14.5 cm)

La Mina, Chancay – Grave A1 (Uhle excavations)

Plate G10: Gravelots to Chancay Sgs. 1.4.1A, B (with sg. 3.1)

366

836/sg.1.4.1B Pg(4)XXX (1:3)

Pg(4)XLVIII Pg(4)CCXXVI (35 cm) 15 cm

Pg(4)CL (37 cm)

Pisquillo Grande – Grave 4 – (Horkheimer excavations)

C147a/sg.1.4.1B C147b/sg.2.1 EMB VA 43394 (10.2 cm)

Pg(4)CXII (33 cm)

EMB VA 43397 (14.0 cm)

C147c/sg. 6.1b

835/sg.2.3 Pg(4)XXXI (1:3)

1595/sg.1.6.1A, associated

EMB VA 43396 (11.0 cm)

FMC 168820

Workbasket 16 (Bethlen [1986]) Cemetery A, Marquez (Kroeber excav.) Gravelots to Chancay Sgs. 1.4.1B (with sgs. 2.1, 6.1b) and 1.6.1A

834/sg. 2.2 Pg(3)XVII (1:4)

Pg(3)CVI

Pg(3)CXXVIII Pg(3)CXVII Pg(3)XXXIII Pg(3)LXXXIII Pg(3)CXXIII sizes: ?

Pisquillo Grande – Grave 3 – (Horkheimer excavations) Gravelots to Chancay Sg. 2.2

Plate G11: Gravelots to Chancay Sgs. 1.4.1B (with Sgs. 2.1, 6.1b), 1.6.1A, 2.2 367

838/sg.2.3 837/sg. 2.3 845/sg.2.3 840/sg. 2.3 La(4)XLVIII La(4)LII La(4)LXIV La(4)XLIX all 1:5

La(4)XIV

La(4)XVI

Size ?

Lauri, Chancay Valley – Grave 4 – (Horkheimer excavations)

844/sg. 2.3 La(8)X (a:3)

(Cornejo 1985: 123) Lauri, Chancay Valley – Grave 8 – (Horkheimer excavations)

TVI/1 – 16.5 cm

704/ TVI/16 (11.2 cm)

TV1/6- 17.8 cm

Cajamarquilla, Rimac Valley : Grave TVI

TV1/11 – 12.8 cm

TV1/11 – 12.8cm

Plate G12: Gravelots to Chancay Sg. 2.3 and Ychsma Sg. 2.1A 368

866/P.6606/LH 1.1

Ancón 1 – T.472

P. 6603 (12 cm)

P.6609 (29 cm)

P.6600 (33 cm)

P.6604 (21 cm)

P.6601 (19 cm)

P.6605 (18 cm)

P.6610 (21 cm)

P.6612 (20 cm)

Ancón 1 – T. 472 (MNAA excavations)

857/P.6329 858/P.6330 (LH 1.1)

P.6608 (20 cm)

P.6602 (20 cm)

P.6607 (21 cm)

P. 6615 (22 cm)

P.6331 (17 cm)

Ancón 1 – Faja 72 (MNAA excavations)

Plate G13: Gravelots to Late Horizon sg. 1.1 and sg. 1.2A (1)

369

1048/P.5823 (24.2 cm) (LH 1.2A)

P.5824 ((21 cm)

860/P.5185 861/P.5185 (LH 1.2B)

P.5183 (24 cm)

P. 10326 (16 cm)

P.10323 (19.5 cm)

P.5825 (15 cm)

P.5828 (23 cm)

Ancón 1 – T 422 (MNAA excavations)

P.5181 (26 cm)

P. 5182 (22 cm)

P.5184 (21 cm)

Ancón 1 – T 362 (MNAA excavations)

1581 (732/16855) (10.3 cm)

P.10333 (12 cm)

Ancón 1 – T 786 (MNAA excavations)

P.5187 (22.5 cm)

735/168958 (9.0 cm)

Marquez Cemetery A (Kroeber excav.)

Plate G14: Gravelots to Late Horizon sg. 1.2A(2) and sg. 1.2B; Funerary Litters

370

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WENDT, W.E (1964): Die präkeramische Siedlung am Rio Seco, Peru. Baessler Archiv NF 11(2): 225-275. Berlin. WIENER, Charles (1880): Pérou et Bolivie. Editions Hachette, Paris. [1993: New edition, Institut Français d'Etudes Andines, Lima] WILLAY: Newsletter of the Andean Anthropological Research Group. Izumi & Melody Shimada (Eds). Department of Anthropology, Peabody Museum, Harvard University, Cambridge. WILLEY, Gordon R. (1943a): Excavations in the Chancay Valley. Columbia Studies in Archaeology and Ethnology 1(3). Columbia University Press. New York. (1943b): A Supplement to the Pottery Sequence at Ancón. Columbia Studies in Archaeology and Ethnology 1(4). Columbia University Press. New York. (1945): Horizon Styles and Pottery Traditions in Peruvian Archaeology. American Antiquity 11(1): 49-59. Salt Lake City. (1948): Functional analysis of "Horizon styles" in Peruvian Archaeology. In : W.C. Bennett (Ed.), A Reappraisal of Peruvian Archaeology. Society for American Archaeology Memoir 4: 8-15. Menasha. (1971): An Introduction to American Archaeology. Volume II: South America. Prentice-Hall, Inc., Englewood Cliffs, New Jersey. WILLEY, Gordon R. and John M. CORBETT (1954): Early Ancón and Early Supe Culture: Chavín Horizon Sites of the Central Peruvian Coast. Columbia Studies in Archaeology and Ethnology 3. Columbia University Press. New York. WILLIAMS LEÓN, Carlos (1978-1980): Complejos de pirámides con planta en U, patrón arquitectónico de la costa central. Revista del Museo Nacional 44: 95-110. Lima. WILSON, David J. (1981): Of maize and men: a critique of the maritime hypothesis of state origins on the coast of Peru. American Anthropologist 83:93-120. (1988): Prehispanic Settlement Patterns in the Lower Santa Valley Peru. A Regional Perspective on the Origins and Development of Complex North Coast Society. Smithsonian Institution Press, Washington D.C. WINNING, H. von (1972): Mexican figurines attached to pallets and cradles, Papers of the XL Congress of Americanists, Rome, pp.123-131.

389

EXPLANATIONS TO THE TABLES 1. All the figurines recorded in museums or private collections have been given a running number in terms of this publication, in order to avoid the use—in the text—of lengthy museum accession numbers. Accession numbers are given under “Source”. 2. The figurines which were not recorded by me fall into four categories: • Published figurines: indicated by “P” followed by a number; • Figurine data which were communicated to me by archaeologists: indicated by a “C” followed by a number; • Figurines from the collection of Santiago Agurto Calvo known to me from the catalogue made by the Instituto Nacional de Cultura: indicated by “SAC” followed by their catalogue number. Figurines from the collection which I was able to examine are listed by a running number (as above, 1). The sequence within each group or sub-group is based—as far as possible—on shared traits, the provenance and the likely chronological position. 3. Provenances are given accuracy ratings : The great majority of figurines in this study have no certain site indication, but many are given provenances of sorts in the museum catalogues. A certain amount of detective work had to be done on museum collections in order to rate the value of such provenances. This is done in Appendix 1. The ratings, also shown in the Tables, are as follows: *** Certain as to site, from a documented context; ** Certain as to site, but lacking a documented context; * Fairly reliable as to site: this rating can include—amongst others—provenances given by individuals with local knowledge (e.g. Yoshitaro Amano, at the Museo Amano, Lima) or archaeologists (e.g. S.K Lothrop on his buying expeditions for the Peabody Museum, Harvard). Unverifiable: this rating can include indications such as “Chancay” in a museum catalogue, though it may not be clear whether the valley or the culture is meant. º º Unlikely: this rating is based on criteria such as collections with consistently unlikely provenances, etc. Although all categories are listed for each group, only the first three are taken into account when discussing the geographic distribution of a group. 4. The data are recorded as follows: • When a measurement or feature is not known, it is shown by a blank space. If a feature is not present on a figurine the coding “n/i” (not indicated) is used (e.g. where the sex is not shown). If the feature is not applicable, the code “n/a” (not applicable) is given (e.g. no airholes in a solid figurine). However, if a feature should be present, but is not, then the code “no” (absent) is used (e.g. a hollow figurine lacking airholes, which should be present). • An entry in brackets means a partial dimension (metric). 5. The colours listed usually apply to the surface and the designs, not to the paste. The slip or base colour is listed first, any design colours are added after a “+” (e.g. “White + black, red”). Abbreviations used in the Tables (for abbreviated museum and collection names see pp.5-7) C = "Communicated" Figurine F = (Sex column) Female Gr. = Group HM = Hand-made M= (Manufacture column) Mold-made M = (Sex column) Male n/a = not applicable

n/i = not indicated n/k = not known n/n = no number P (followed by number) = Published Figurine pf = post-fired sg.= sub-group

391

393

INC, Trujillo AS 1M-10=67 (excav.) INC, Trujillo AS 1M-10=68 (excav.) INC, Trujillo AS 1M-10=75 (excav.) INC, Trujillo AS 1M-10=79a (excav.) INC, Trujillo AS 1M-10=79b (excav.) INC, Trujillo AS 1M-10=83 (excav.) INC, Trujillo AS 1M-10=84 (excav.) INC, Trujillo AS 1M-10=85 (excav.) INC, Trujillo AS 1M-10=89a (excav.) INC, Trujillo AS 1M-10=89b (excav.) INC, Trujillo AS 1M-10=94 (excav.) INC, Trujillo AS 1M-10=98 (excav.) INC, Trujillo AS 1M-10=109 (excav.) INC, Trujillo AS 1M-10=113 (excav.) INC, Trujillo AS 1M-10=192 (excav.) INC, Trujillo AS 1M-10=300a (excav.) INC, Trujillo AS 1M-10=300 (excav.)

985

P431

P430

986

P429

P428

P427

P426

P425

P424

984

P423

P422

P421

P420

P419

P418

Aspero, Supe Valley

MArtL n/n (Excavation R. Fung)

884

El Aspero *** Supe Valley El Aspero *** Supe Valley El Aspero *** Supe Valley El Aspero *** Supe Valley El Aspero *** Supe Valley El Aspero *** Supe Valley El Aspero *** Supe Valley El Aspero *** Supe Valley El Aspero *** Supe Valley El Aspero *** Supe Valley El Aspero *** Supe Valley El Aspero *** Supe Valley El Aspero *** Supe Valley El Aspero *** Supe Valley El Aspero *** Supe Valley El Aspero *** Supe Valley El Aspero *** Supe Valley

Bandurria ** Huaura Valley

Site

F

F

M?

F

F

n/i

M

F

n/i

F

F

F

F

n/i

1

Sex

(7.8)

(10.0 ) (6.9)

(9.3)

(7.0)

(7.0)

(3.2)

(2.0)

(12.0)

(7.2)

(8.4)

(7.5)

(2.4)

(9.0)

(7.6)

(5.6)

(16.0)

H (cm)

(5.1)

(4.1)

(4.9)

(5.3)

(5.5)

(4.7)

(2.1)

(1.2)

(6.5)

(4.8)

(4.9)

(4.3)

(1.9)

(6.0)

(4.9)

(2.6)

(5.5)

W (cm)

(2.1)

(9.0)

(4.6)

(2.3)

(4.0)

Th (cm)

Measurements 2 Wgt (gr.)

greyish-white

greyish-white

greyish-white

greyish-white

greyish-white

greyish-white

greyish-white

greyish-white

greyish-white

greyish-white

greyish-white

greyish-white

greyish-white

greyish-white

greyish-white

greyish-white

greyish-white

greyish-white

Colour

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM -M

S

S

S

S

S

S

S

S

S

S

S

S

S

S

S

S

S

S

S-H

n/a

n/a

n/a

n/a

n/a

n/a

n/a

n/a

n/a

n/a

n/a

n/a

n/a

n/a

n/a

n/a

n/a

n/a

Air-holes

Manufacture

Body fragment; pregnant?

Body fragment; pregnant? Nearly complete figurine Body fragment

Body fragment

Body fragment

Head Fragment

Hand and forearm

Head Fragment

Body fragment

Body fragment

Body fragment; pregnant? Body fragment

Head and chest fragment Head and chest fragment Chest and lower body; pregnant? Head Fragment

Features

Special

2

For the sex attributions of the Aspero figurines see Discussion. The measurements for the figurines have been calculated from the published illustrations. 3 In Feldman 1991, the description for AS 1M=79b corresponds to figs. 13,14, that of AS 1M=83 to fig.12. See also Feldman 1980:Fig. 41.2.

1

Source

Bandurria, Huaura Valley

No

TABLE 1(1): FIGURINES OF THE PRECERAMIC PERIOD

1

Feldman 1980:Fig.41.2; 1991:12, Fig.12 3 1

Feldman 1991:17, Fig.32.

Feldman 1980:Fig.41.1; 1991:15, Fig.29-30; Burger 2007: Fig. 18.2, middle. Feldman 1991:17, Fig.31.

Feldman 1991:15, Figs.26-27.

Feldman 1991:15, Fig.25.

Feldman 1980:Fig.41.3;1991:14, Fig.22-23; Burger 2007: Fig. 18.2, right. Feldman 1991:15, Fig.24.

Feldman 1991:14, Fig.21.

Feldman 1991:13.

Feldman 1980:Fig.40; 1991: 13, Figs.17-20.

2

2

2

2

2

2

2

1

-

1

1

1

Feldman 1991:12,. Figs.13-14 31.

Feldman 1991:13, Figs.15-16.

1

1

1

1

1

Plate

Feldman 1991:12, Fig.11.

Feldman 1991:10, Figs.9-10.

Feldman 1980:Fig.41.4; 1991: 10, Figs.4-7; Burger 2007: Fig. 18.2, left. Feldman 1991:10, Fig. 8.

Fung 1988: Fig.3.2

Published

394

Engel 1966a:Pl.VI.1 (Excavation Engel)

P437

El Paraíso *** Chillón Valley

Mound 6 ** Rio Seco de León Mound 6 ** Rio Seco de León Mound 6 ** Rio Seco de León Mound 6 ** Rio Seco de León Mound 6 ** Rio Seco de León

n/i

n/i

n/i

n/i

Sex

One Figurine of unbaked clay (Patterson 1985:63, not illustrated)

Huaca La Florida, Rimac Valley

El Paraiso, Chillón Valley

P436

P435

P434

P433

Wendt 1964:Abb.14.1 (Excavation Wendt) Wendt 1964:Abb.14.2 (Excavation Wendt) Wendt 1964:Abb.14.3 (Excavation Wendt) Wendt 1964:Abb.14.4 (Excavation Wendt) Wendt 1964:Abb.14.5 (Excavation Wendt)

P432

Site

(5.0)

(2.4)

6.1

(6.3)

(10.5)

(7.5)

H (cm)

(5.5)

(2.7)

3.0

(2.7)

(8.5)

6.3)

(1.52.0)

Measurements 1 W Th Wgt (cm) (cm) (gr.)

greyish-white

greyish-white

greyish-white

greyish-white

greyish-white

greyish-white

Colour

HM

HM

HM

HM

HM

HM

HM -M

S

S

S

S

S

S

n/a

n/a

n/a

n/a

n/a

n/a

Manufacture S-H Air-holes

Head fragment

Head fragment

Body fragment

Lower body

Lower body

Special Features

See Source; Burger 2007: Fig. 18.3.

See Source

See Source

See Source

See Source

See Source

Published

2

2

2

2

2

2

Plate

The measurements for the figurines from Rio Seco have been calculated from the published illustrations; those for the El Paraiso fragment were provided by J. Quilter (pers. comm.): they differ slightly from those published by Engel (1966a: Pl. VI.I).

1

Source

Rio Seco de León

No

TABLE 1(2): FIGURINES OF THE PRECERAMIC PERIOD

395

Source

Site

AN/61 Z J 43655 1.50 [m] (Rosas excav.) LMB 4-6342 [b] (Uhle excavation) n/n (Rosas excavation)

2297

2294

2293

2284

2279

2278

2282

2276

2277

2290

2288

2287

2289

2291

A1 - C (1) (A) 0.60 - 1 m. (Rosas exc.) ANCÓN Z“D” Cat.3 1.70 m (Rosas excav.) AC - 1A 5 (F) (Rosas excav.) n/n (Rosas excav.)

AN - C - (1A) V C.Const.43655 (Rosas exc.) AN - C (1A) III Estruc 43615 (Rosas Excav.) AN - C (1A) 43655 (Rosas excav.) AN - C(1)(A) 0.60-1[ m] (Rosas excav) 93 [?] (Rosas excav.)

AN - C (1A) IV 670-210 (Rosas exc.) An - C - (3) (Rosas exc.) 1.20-1.70 [m] 43655 n/n? (Rosas excav.)

AN - C(1A) IV - (C) (Rosas excav.) n/n? (Rosas excav.)

2283

2006

AN - C(1) (A) 43655 (Rosas excav.) HMB 4-6342[c] (Uhle excavation)

2281

2280

2005

n/n (Rosas excavation)

2298 a,b

Sub-group 1.1

Ancón ** (Shell middens) Ancón ** (Shell middens) Ancón ** (Shell middens) Ancón ** (Shell middens)

Ancón ** (Shell middens) Ancón ** (Shell middens) Ancón ** (Shell middens) Ancón ** (Shell middens)

Ancón ** (Shell middens) Ancón ** (Shell middens) Ancón ** (Shell middens) Ancón ** (Shell middens) Ancón ** (Shell middens) Ancón ** (Shell middens)

Ancón ** (Shell middens) Ancón ** (Shell middens) Ancón** Site D (Shell m.) Ancón ** (Shell middens) Ancón ** (Shell middens) Ancón ** Site D (shell m.)

Group 1: Figurines from Ancón

No

n/i

n/i

n/i

n/i

n/i

n/i

Sex

(3.1)

(6.1)

(7.4)

(5.9)

(6.6)

(7.5)

(4.9)

(8.5)

(3.6)

(4.9)

(6.0)

(5.2)

(4.0)

(6.0)

(7.4)

(7.5)

(8.0)

(5.5)

a (7.1) b (4.4) (4.8)

H (cm)

(2.8)

(3.7)

(5.5)

(3.9)

(4.3)

(6.0)

(3.5)

(4.5)

(4.0)

(4.9)

(5.6)

(4.5)

(3.8)

(4.9)

(3.7)

(5.5)

(4.5)

(2.7)

a (5.3) b (4.3) (3.4)

W (cm)

(2.7)

(2.0)

(2.6)

(2.5)

(3.6)

(2.8)

(2.5)

(1.8)

(3.)

(2.4)

(3.2)

(2.5)

(4.0)

(3.0)

(2.2)

(2.0)

(2.0)

Th (cm)

Measurements Wgt (g)

Eroded

Eroded; traces of pf white paint Black +traces of pf red, white, yellow paint Black + traces of pf red paint Black (eroded)

Black + traces of pf red paint Black

brown-black

brown-black + pf red, white paint. Black

Black + white paint

Black + pf red, white paint Black + pf pink, white, yellow, orange paint Black

Grey (eroded)

Buff (eroded)

Orange

Dark grey

Colour

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM-M

S

S

S

S

S

S

S

S

S

S

S

S

S

S

H?

S

S

S

S

S

n/a (2 shoulders)

n/a (2 shoulders)

n/a (2 shoulders)

Manufacture S-H Air-holes

TABLE 2(1) : FIGURINES OF THE LOWER AND MIDDLE FORMATIVE (INITIAL PERIOD AND EARLY HORIZON)

Body fragment

Body fragment

Body fragment

Body fragment

Head and upper body Head and upper body

Head and upper body Head fragment

Head fragment

Head fragment

Head fragment

Head fragment

Head and right shoulder Head fragment

Body fragment

Body fragment

Body fragment

Body fragment

a: Head fragmt b: Body fragmt Body fragment

Special Features

Rosas (1970): 218, Lám. XXIVD?

Rosas (1970): 218; Lám. XXIVB

Rosas (1970):220, Lám. XXIIIC

Rosas (1970):218, Lám. XXIIIA

Rosas (1970):218, Lám. XXIIIB

Rosas (1970): Lám. XXIIB

Rosas (1970):219, Lám. XXIIC

Rosas (1970):192, Lám. XXIIA, fig.13c6

Rosas (1970): 220; Lám. XXIB

Rosas (1970):219, Lám. XXIA

Strong 1925:154, Pl.48e.

Rosas (1970): 218; Lám. XXIVA

Strong 1925: 154, Pl. 48g, fig.5b Lilien 1956:25, Pl. II d

Rosas (1970):224, Lám. XVIIIB?

Rosas (1970):220, Lám. .XVIIIC

Published

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

3

Plate

396

Source

Site

HMB 4-6342 [a] (Uhle excavation) n/n (Rosas excav.)

AN - C(1) (A) 0.60 - ZA1 43655 (Rosas excavations) AN/62 43634 (Rosas excav.) MNAA : AN-C-1A/3 (Rosas excav) AN - C (1A) IV (Rosas excav.) ANCÓN 2.D Cat. 1 (Rosas excav.)

AN-CIV-5 43655 (Rosas excav.)

A1 - C AN - 6 - 3 1m to 1.50 (Rosas excav.) A1 - Colinas Sector C Cat. 1A E VI (Edifice?) (Rosas excav.) AN - C!A 2 (Rosas excav.) AC/A (Rosas excav.) 7(F) 43655 AN - C (1A) (Rosas excav.) AN - C - 11 2 93 (Rosas excav.)

AN - C1A K2 (Rosas excav.) HMB 4-6341[a] (Uhle excavation) AN C.10/2 (Rosas excav.) HMB 4-6341[b] (Uhle excavation)

2308

2301

2306

Ancón ** (Shell middens)

Ancón ** (Shell middens)

Ancón ** Site D (shell m.) Ancón ** (Shell middens)

Ancón ** (Shell middens) Ancón ** (Shell middens) Ancón ** (Shell middens) Ancón ** (Shell middens)

Ancón ** (Shell middens)

Ancón ** (Shell middens) Ancón ** (Shell middens) Ancón ** (Shell middens) Ancón ** (Shell middens)

2004

2307

2003

Ancón ** (Shell middens) Ancón ** Site D (shell m.) Ancón ** (Shell middens) Ancón ** Site D (shell m.)

Figurines from Ancón : Sub-group 1. 3

2300

2305

2304

2303

2302

Ancón ** (Shell middens) Ancón ** (Shell middens)

Figurines from Ancón : Sub-group 1. 2

AN - 2 - Las Colinas Estr. 4 (Rosas excav.)

2299

Atypical

2292

2002

2296

2295

666

2285

2286

Figurines from Ancón: Sub-group 1.1 (cont.)

No

n/i

n/i

n/i

n/i

Sex

(4.2)

(4.1)

(4.6)

(5.3)

(4.0)

(4.7)

(6.5)

(8.9)

(7.5)

(7.4)

(5.8)

(5.5)

(4.6)

(3.9)

(5.5)

(5.6)

14.3

(6.8)

(6.1)

H (cm)

(2.0)

(2.9)

(2.5)

(2.2)

(4.1)

(4.3)

(4.8)

(6.2)

(6.4)

(6.5)

(4.0)

(3.4)

(4.6)

(4.3)

(5.0)

(4.2)

7.5

(6.8)

(6..7)

W (cm)

(1.8)

(4.0)

(2.5)

(2.3)

(3.0)

(3.1)

(4.9)

(4.8)

(5.0)

(3.6)

(3.0)

(1.7)

(3.1)

3.5

(3.0)

(2.2)

Th (cm)

Measurements

245

Wgt (g)

Terracotta + traces of black Buff (eroded)

Dark grey + traces of red Buff (eroded)

Greyish .black (eroded)

Pale brown

Terracotta +traces of black? Terracotta

Orange

Dark grey

Black

Black (eroded)+ traces of pf red Grey-black + pf red, white paint Black + pf red, white paint Brownish black + pf red, white, yellow Black

Black

Colour

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM-M

S

S

S

S

H

H

H

H

H

H

S

S

S

S

S

S

S

S

S

n/a ( 2 shoulders, 2 lower legs)

n/a

Manufacture S-H Airholes

TABLE 2(2) : FIGURINES OF THE LOWER AND MIDDLE FORMATIVE (INITIAL PERIOD AND EARLY HORIZON)

Head fragment Head fragment Head fragment Head fragment

Head fragment Head fragment Head fragment Head fragment

Head fragment Head fragment

Body fragment of hunchback Fragment of leg and foot

Body fragment Head fragment

Body fragment Body fragment

Body fragment

Body fragment

Special Features

Strong 1925:154, Pl.48g Lilien 1956: 25, Pl. IIb

Strong 1925:154 fig.5a, Pl.48g Lilien 1956: 25, Pl. IIa Rosas (1970): 222, Fig.13c4

Rosas (1970): 222, Fig.13c1

Rosas (1970) : 223, Lám. XXVC

Rosas (1970): 220, Fig.13c3

Rosas (1970): 220, Lám. XXVA Fig.13c5

Rosas (1970): 220-221, Lám. XXVB, Fig.13c2

Rosas (1970):224, Lám. XVIIIA

Rosas (1970): 223, Lám. XVIII d

Lilien 1956:26, Pl. IIe

Rosas (1970):219, Lám. XXVIA, fig. 13a

Rosas (1970): 218, Lám. XXIVC?

Published

5

5

5

5

4

4

4

4

4

4

4

4

4

4

4

4

4

4

4

Plate

397

Source

Site

Abanto 2009: Fig. 14

PC2L

P449

2309

Ancón ** (Shell middens) Ancón ** (Shell middens)

n/i

n/i (F)

Sex

(19.8)

23.0

H (cm)

10.3

9.2

W (cm)

9.6

7.0

Th (cm)

Measurements

Scheele 1970:fig.57f

Scheele 1970:fig.60b

Scheele 1970:fig.60c

Scheele 1970:fig.60d

Scheele 1970:Pl.19,20

Scheele 1970:Pl.27, upper right

MNAA, Coll. Engel

Engel 1956:Fig.8 right

Engel 1956:Fig.9A

Engel 1956:Fig.9B

Engel 1956:Fig.9F

P439

P440

P441

P442

P443

P444

667

P445

P446

P447

P448

Malpaso, *** Lurín Valley Malpaso, *** Lurín Valley Cardal, *** Lurín Valley Cardal ? Lurín Valley Cardal *** Lurín Valley Cardal, *** Lurín Valley Manchay Bajo*** Lurín Valley

n/i (F)

(F)

Curayacu **

Curayacu **

Curayacu **

Curayacu **

Curayacu **

(F)

3. Curayacu, near San Bartolo, Lima Province

Scheele 1970:fig.57c

P438

2. Lurín Valley Sites

Canto Grande.*, Rimac Valley Huachipa, ** Rimac Valley

48.7

(6.9)

(7.0)

(7.5)

(5.5)

(4.5)

(5.0)

(4.5)

(4.4)

(4.7)

14.6

(7.0)

(3.2)

(6.2)

(5.02)

10.9

(6.0)

(6.0)

(4.9)

Group 2: Figurines from sites other than Ancón 1. Rimac Valley Sites Garagay: 81 figurine fragments retrieved at the site have not been published

669

A - 2 /289 1945 excavat.) A - 2 /282 1945 excavat.)

MNAA (MNAA MNAA (MNAA

668

Figurines from Ancón Sub-group 1.4

No Wgt (g)

Black + pf ? red

Black + pf ? red, white Red

Buff

Dark orange

Pale brown

Terracotta

Black

Black

Colour

HM

HM?

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM-M

H

S

H

H

S

H

S

S

H

H

H

H

2 eyes, 2 ears, 2 nose 1 mouth, 1 anus

?

1 anus

Manufacture S-H Airholes

TABLE 2(3) : FIGURINES OF THE LOWER AND MIDDLE FORMATIVE (INITIAL PERIOD AND EARLY HORIZON)

Body fragment Head fragment Head fragment Head fragment

Body fragment Head fragment Body fragment

Foot fragment

Head fragment Fragment of legs Foot fragment

Head fragment Head fragment

Extensively restored Body only

Special Features

See Source

See Source

See Source

Engel 1956; Lavalle + Lang 1978:47-49; many others See Source

See Source + pp.179ff.

See Source + pp.161ff.

See Source + pp.161ff.

See Source

See Source + pp.161ff.

See Source + pp.195-6

See Source + pp.195-6

Palacios 1988: fig.1d

See Source

Carrión Cachot 1948: Pl.XXV,23 Lilien 1956: 27-28, Pl. II g Carrión Cachot 1948: Pl.XXV,24 Lilien 1956: 27-28, Pl. II h

Published

5

5

5

5

5

5

5

--

5

5

5

5

5

5

5

5

Plate

398

Source

Site

AMNH 657/41.A (Willey excavations) AMNH 624/41.A (Willey excavations) AMNH 589/41.A (Willey excavations) Willey 1943a:fig.9b (Willey excavations) AMNH 616/41.A (Willey excavations) AMNH 610/41.A (Willey excavations)

AMNH 509/41.A (Willey excavations)

Cerro Trinidad*** Pit 6- Level 11

Cerro Trinidad*** Pit 7 - Level 17 Cerro Trinidad*** Pit 4 - Level 9 Cerro Trinidad*** Pit 7 - Level 14 Cerro Trinidad*** Pit 7 - Level 1 Cerro Trinidad*** Pit 2 - Level 1 Cerro Trinidad*** Pit 4- Level 1 n/i

n/i

Sex

5.3

(5.1)

(4.6)

(4.8)

(6.1)

(6.2)

H (cm)

MSPuru Huallamarca 1468 MSPuru Huallamarca 1104

2329 2340

Huallamarca * Huallamarca *

Huallamarca **

MSPuru MSPuru MSPuru MSPuru

n/n n/n n/n n/n

Puruchuco** Puruchuco** Puruchuco** Puruchuco**

PC2L

Palacios 1988:fig.31a Palacios 1988:fig.31c PC2L

PC2L

PC2L PC2L

2220

1117 1121

Transitional Cerro-Pinazo

P451 P452 811

Late Cerro Phase

810

Huachipa ** Huachipa **

Huachipa **

Huachipa ** Huachipa ** Huachipa **

Huachipa, ** Rimac Valley

Atypical : Associated to Middle Cerro Phase

Rimac Valley : Huachipa

1113 1114 1109 2327

Rimac Valley : Puruchuco

MSPuru HPA 2.1470

2217

n/i

F

(5.5) (5.4)

24.0

(4.9)

(11.2)

(4.3) (4.7) (5.8) (7.0)-

(8.3) 5.0

12.5

(5.5) (6.1)

(8.0)

(4.7)

5.6

(4.0) (6.8) (4.8) (6.7)

4.2 3.4

6.0

3.9

(3.7)

(4.0)

(6.6)

(4.8)

(7.4)

W (cm)

3.8

(2.1) (4.5)

3.5

2.6

(2.7)

(3.0)

(5.0)

Th (cm)

Measurements

Rimac Valley : Huallamarca (Huaca Pan de Azucar),

2139

Atypical

2136b

2136a

P450

2140

2138a

2141

Chancay Valley : Cerro Trinidad

No Wgt (g)

Terracotta + cream (traces) Terracotta Terracotta

Orange

Black + pf red, orange paint

Buff Terracotta Terracotta Terracotta

Terracotta Terracotta

Terracotta

Black on white

White on Terracotta

White on Terracotta Terracotta

Colour

HM HM

HM

HM HM HM

HM

HM HM HM HM

HM HM

HM

HM

HM

HM

HM

HM

HM

HM

HM-M

H

S

S S H

H

H H S

H S

H

S

H

H

H

H

H

H

n/a

1 Top of head

1 Top of Head 2 below neck

2 behind upper arms 2 at neck n/a

n/a

Manufacture S-H Air-holes

Head fragment Head fragment

Head fragment Head fragment Head fragment

Face fragment Face fragment Head fragment Head fragment

Gravelot

Head fragment

Head fragment

Head fragment

Head and chest fragment Fragment of lower body Head fragment

Special Features

Published

See Source See Source

Palacios 1988:foto 5

Willey 1943a: 140,161,173,fig.9h; Lilien 1956: 61

Willey 1943a:161,175, fig.9a; Lilien 1956:55 Willey 1943a:163,176; Lilien 1956:61, Pl.Vb Willey 1943a:161, fig.9c; Lilien 1956:57 See Source; Lilien 1956:56 Willey 1943a:161,175; Lilien 1956:55 Willey 1943a:161,175; Lilien 1956:55

TABLE 3(1): FIGURINES OF THE EPIFORMATIVE (LATE FORMATIVE AND EARLY PART OF THE EARLY INTERMEDIATE PERIOD)

7 7

7

6 6 6

6

6 6 6 6

6 6

6

6

6

6

6

6

6

6

Plate

399

1

Source

Site

PC2L PC2L

Palacios 1988:Foto 13.2 Palacios 1988:Foto 13.3 Palacios 1988:Foto 13.4

Palacios 1988:Foto 13.6 Palacios 1988:Foto 13.7 Palacios 1988:Foto 13.9 Palacios 1988:Foto 13.10 Palacios 1988:Foto 13.11 PC2L PC2L

Palacios 1988: fig.40 PC2L PC2L PC2L PC2L PC2L PC2L

PC2L Palacios 1988:Foto 16.1 Palacios 1988:Foto 16.2 Palacios 1988:Foto 16.5 PC2L Palacios 1988:Foto 16.3

PC2L

IRAL Tabl.00189 (Exc. Inst. Riva Agüero)

IRAL Tabl.01736 (Exc. Inst. Riva Agüero)

814 816

P454 P455 P456

P457 P458 P459 P460 P461 812 819

P453 818 1118 1123 809 1120 1119

1122 P462 P463 P464 1071 P465

815

808

804

Huachipa **

Huachipa ** Huachipa ** Huachipa ** Huachipa ** Huachipa ** Huachipa **

Huachipa ** Huachipa ** Huachipa ** Huachipa ** Huachipa ** Huachipa ** Huachipa **

Huachipa ** Huachipa ** Huachipa ** Huachipa ** Huachipa ** Huachipa ** Huachipa **

Huachipa ** Huachipa ** Huachipa **

Huachipa ** Huachipa **

Huachipa **

16.9

n/i

n/i

7.1

4.5

2.0

5.8

4.3

2.9

5.7 (3.6)

1.2 3.9

3.2

Th (cm)

40

365

115

45

80

Wgt (g)

Greyish brown

Terracotta

Pale Terracotta

Terracotta

Terracotta

Terracotta Terracotta Terracotta Terracotta Terracotta

Orange Terracotta + cream (traces

Cream (traces) on terracotta Terracotta Buff

Colour

HM

HM

HM

HM HM HM HM HM HM

HM HM HM HM HM HM HM

HM HM HM HM HM HM HM

HM HM HM

HM HM

HM

HM-M

H

H

H

H H

H

H H H H H H H

H H

H

H

S H

H

2 behind arms

2 behind arms

2 waist

2 waist

2 shoulders 2 shoulders

2 waist 2 shoulders

2 behind upper arms n/a 2 behind upper arms

Manufacture S-H Air-holes

Gravelot

Gravelot

Body and leg fragment

Head fragment Head fragment Head fragment Face fragment

Head + chest Head Head fragment Head + chest Head fragment Head fragment

Head fragment Head and arm fragment Head fragment Head fragment Head fragment Head fragment Whole figurine? Head fragment Head and chest fragment

Special Features

Unless I made an error, when first provided with the data by M. Cárdenas, E 199, containing 808/0189, was numbered E 193.

Tablada *** Grave E 199 (originally E 193?) 1 Tablada *** Grave E 203

7.2

6.2

13.8

n/i

(7.9) (7.6) (3.5)

(5.5) (6.5) (4.5) (7.7) (8.9) (9.1)

(5.1) (9.0) (6.4) (8.2) (5.2) (7.0) (5.8)

(7.8) (1.6) (6.4)

1.9 5.3

(3.5)

W (cm)

Measurements

5.4 (7.0)

(11.8) (10.8) (4.8) (9.4) (8.5) (8.0)

(5.6) (6.8) (6.9) (7.4) (9.2) 13.0 (9.5)

(5.6) (3.0) (7.2)

3.4 10.5

6.6

H (cm)

(4.8) (9.0) (3.6) (7.7) 6.5 (10.7)

n/i

n/i

n/i

n/i n/i

n/i

Sex

Lurín Valley: Necrópolis de la Tablada de Lurín

Huayco Phase

PC2L

813

Pinazo Phase

Rimac Valley : Huachipa (cont.)

No

Cárdenas 1999: Foto 65t; Lám. 48.6; Lám. 106.

Cárdenas 1999: Foto 62 upper right; Lám. 48.2; Lám. 104. Makowski et al., 2012: 13d

See Source

See Source See Source See Source

Palacios 1988: Foto 13, middle row, far right

See Source; Palacios 1982

See Source See Source See Source See Source See Source See Source Palacios 1988: foto 13, middle row, far left

See Source See Source

Published

TABLE 3(2): CENTRAL COAST FIGURINES OF THE EPUFORMATIVE (LATE FORMATIVE AND EARLY PART OF THE EARLY INTERMEDIATE PERIOD)

9

9

8

8 8 8 8 8 8

8 8 8 8 8 8 8

7 7 7 7 7 7 8

7 7 7

7 7

7

Plate

400

2

1

Source

Site

Sex H (cm)

W (cm)

IRAL Tabl.01737 Grave E 258 (Exc. Inst. Riva Agüero) IRAL Tabl.00187 Tablada *** (Exc. Inst. Riva Agüero) Grave E 58 PUCP – Proyecto Tablada Tablada - Exc. Unit (Exc. K. Makowski) S104-107 E 70-75 Tomb 381***- C5 PUCP – Proyecto Tablada Tablada - Exc. Unit (Exc. K. Makowski) S100-107 E 55-60 Tomb 201***- C5 PUCP – Proyecto Tablada Tablada - Exc. Unit (Exc. K. Makowski) S100-107 E 55-60 Tomb 202***- C7 PUCP – Proyecto Tablada Tablada - Exc. Unit (Exc. K. Makowski) S95-100 E 40-45 Tomb 08***- C3 PUCP – Proyecto Tablada Tablada - Exc. Unit (Exc. K. Makowski) S123-129 E127-138 Tomb 03***- C1

805

Engel 1966b:Fig.33

AMNH 41.1.8990 Exc. Strong and Corbett

Lapa Lapa, Quebrada de Chilca**

Pachacamac **

n/i

n/i

F

n/i

n/i

n/i

n/i

n/i

n/i

n/i

(4.5)

15.9

14.8

23.5

24.7

14.2

17.5

11.3

14.6

13.9

(4.8)

11.2

6.4

8.5

11.8

9.8

(10.6)

(6.9)

(10.1)

(8.3)

(3.3)

7.65

6.4

5.1

7.0

4.1

5.2

4.5

250

Wgt (g)

Red

Orange

Red-brown slip

Pale brown slip

Terracotta

Terracotta

Terracotta

Pale Terracotta

Cream (traces)

Orange

Terracotta

Colour

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM-M

H

H

H

H

H

H

H

H

H

H

1 large opening at back of neck

2 behind arms

1 middle of back 2 behind arms 2 behind arms

1 top of head

2 waist

2 waist

2 waist

Manufacture S-H Air-holes

Head and chest fragment

Head fragment

Gravelot

Gravelot

Gravelot

Gravelot

Special Features

See Source

Lilien 1956: 57

Makowski 2010: Fig.17

Makowski 2002a: Fig. 4.7

Cárdenas 1999: Foto 64; Lám. 48.4; Lám. 176. Makowski et al., 2012: 13e Cárdenas 1999: Foto 63 right; Lám. 48.6; Lám. 69. Makowski et al., 2012: 13a Makowski 2009a: Fig.6; 2010: Fig.16

Ramos de Cox: 1971:104, Lám. I, IIIB; Cárdenas 1999: Foto 63 left; Lám. 48.3; Lám. 76 Makowski et al., 2012: 13c Ramos de Cox: 1971: Lám. II; Cárdenas 1999: Foto 62 upper left; Lám. 48.1; Lám. 72; Makowski et al., 2012: 13b Cárdenas 1981; 1999: Foto 62, lower middle; Lám. 48.5; Lám.176. Makowski et al., 2012: 13f 2

Published

Unless I made an error, when first provided with the data by M. Cárdenas E 01, containing 802/00190, was originally numbered E 26. In the caption to Makowski et al., 2012: Fig. 13f. the wrong number (00189) is given for the figurine; the correct number (01735) is shown under the actual picture.

P466

Chilca

1753

Pachacamac

C121

C120

C119

C118

C117

807

IRAL Tabl.01735 (Exc. Inst. Riva Agüero)

806

Tablada ***

IRAL Tabl.00188 (Exc. Inst. Riva Agüero)

803

Tablada *** Grave E 01 (originally E 26?) 1 Tablada *** Grave E 154

IRAL Tabl.00190 (Exc. Inst. Riva Agüero)

802

Th (cm)

Measurements

Lurín Valley: Necrópolis de la Tablada de Lurín (cont.)

No

TABLE 3(3): CENTRAL COAST FIGURINES OF THE EPIFORMATIVE (LATE FORMATIVE AND EARLY PART OF THE EARLY INTERMEDIATE PERIOD)

10

10

10

10

10

10

10

9

9

9

9

9

Plate

401

1

Source

Site

PC1L

A. Amador, M.. Mackay (excavation) A. Amador, M.. Mackay (excavation) A. Amador, M.. Mackay (excavation) A. Amador, M.. Mackay (excavation) A. Amador, M.. Mackay (excavation) A. Amador, M.. Mackay (excavation) PC2L (Palacios find)

J. Abanto (acquired locally) J. Abanto (acquired locally) AMNH 41.1.8978, 8979 (Strong and Corbett excavations)

AMNH 41.1.8978 1 (Strong and Corbett exc.)

MAL 4484 (no data)

PC2L (J. Palacios excavation) PC2L (J. Palacios excavation) PC2L (J. Palacios excavation)

696

C122

C129

2158

2361

2221

Pachacamac ***

Cerro Culebras, Chillón – Grave 2*** Cerro Culebras, Chillón – Grave 2*** Cerro Culebras, Chillón – Grave 2*** Cerro Culebras, Chillón – Grave 2*** Cerro Culebras, Chillón – Grave 12*** Cerro Culebras, Chillón – Grave 40*** Canto Grande ** (Hda Las Flores), Rimac V. Near Potrero Tenório *, Rimac V. Near Potrero Tenório *, Rimac V. Pachacamac *** Lurín Valley

Cerro Trinidad ** (Site E), Chancay V. Cerro Trinidad *** (Site E), Chancay V. Pit II - Level 1 Chancay Valley

n/i

n/i

n/i

n/i

n/i

n/i

n/i

n/i

n/i

n/i

n/i

n/i

Sex

(2.3)

(9.6)

10.8

13.5

15.3

10.5

10.7

11.3

8.7

11.8

10.8

28.5

(4.4)

15.2

H (cm)

11.0

(7.0)

5.0

7.4

7.4

4.7.

6.6

6.3

4.8

8.7

7.1

8.1

(4.3)

6.4

W (cm)

(4.7)

4.2

5.2

3.9

6.0

4.4

3.2

8.9

7.6

6.2

(2.2)

4.4

Th (cm)

Measurements

Terracotta + traces of orange slip Terracotta + traces of orange slip + bl

Terracotta + Cream

Brown + white

Terracotta + black, cream Yellow-white + black, dark red, white Terracotta + Black, white

Colour

Yellowish cream + black, traces of white? Cream + orange, greyish black, red Pinky white + black, dark red Terracotta + black, dark red

200

Wgt (g)

Same AMNH number as 2135

2225

2224

Chancayllo, Chancay Valley Huachipa ** Rimac Valley Huachipa ** Rimac Valley Huachipa ** Rimac Valley

M

F

n/i

20.8

23.5

17.8

28.2

11.7

12.5

10.8 6.2

6.1

Group 2: Nascoïd Figurines found in a Lima context and Associated Figurines

Atypical

2135

C130

817

C127

C126

C125

C124

C123

2137

HMB 4-6766 (Uhle excavations) AMNH 616/41 A (Willey excavations)

1999

Group 1: Miscellaneous Lima Figurines

No

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

H

H

H

H?

H

H

H

H

H?

S?

S?

S

S

S

H

H

H

1 waist

2 above waist

2 waist

2 below shoulders

2 bellow shoulders

2 at arms

2 below shoulders from side to side 2 below shoulders from side to side 2 below shoulders from side to side? 2 below shoulders

n/a

n/a

n/a

2 at waist

2 at neck

Manufacture Air-holes

HM-M S-H

TABLE 4(1): FIGURINES BELONGING TO OR CONTEMPORARY WITH THE LIMA STYLE (EIP 5-9)

Fragment of a nose

2 fragments (head, chest)

Gravelot

Gravelot

Gravelot

Head fragment

Special Features

Strong and Corbett 1943: Pl.5 a

Strong and Corbett 1943: Pl.5 f, h Lilien 1956: 62, Pl. V a

Falcón and Amador 1997; A. Amador [MS 1997]: Fig. 3,E A. Amador [MS 1997]: Fig. 3, F

A. Amador F. [MS 1997]: Fig. 2,D

A. Amador F. [MS 1997]: Fig. 2/C

A. Amador F. [MS 1997]: Fig. 1,B

A. Amador F. [MS 1997]: Fig. 1,A

Willey 1943a: 161, fig.9i Lilien 1956: 63

Lilien 1956: 61

Published

12

12

12

12

11

11

11

11

11

11

11

11

11

11

11

11

11

11

Plate

402

Source

Site

Sex H (cm)

W (cm)

Th (cm)

Measurements Wgt (g)

Colour

HMB 4-9210a (Uhle excavations) MNAA 35/5306 (Uhle excavations?) MSPuru n/n: excavation "Proyecto Arqueológico Cajamarquilla" MHP 30.19.256 (Gift Capitan) J. Palacios, Personal Communication MSPuru V-4 (no data) PMH 46.77.30/6520 (Lothrop) MSPuru 333 (excavation) PC2L (Palacios find)

2015

Huachipa ** Rimac Valley Huachipa ** Rimac Valley Huachipa ** Rimac Valley Huachipa ** Rimac Valley Huachipa ** Rimac Valley

n/i

n/i

n/i

n/i

M

13.0

13.5

21.0

15.5

18.0

6.5

6.7

9.5

8.8

9.0

3.8

3.7

6.1

5.1

5.4

70

(Thin) white + black

Terracotta + Greyblack, red, white (Thin) white + grey-black, red Terracotta + black, white, red? Terracotta +black HM

HM

HM

HM

HM

H

H

H

H

H

Jijón y Caamaño 1949: fig.218

FMC 169.373 (Kroeber excavation original no. 1588/1167)

P469

1596

P468

Palacios and Guerrero 1992:figs. 6, 7 Jijón y Caamaño 1949: fig.217

P466

2229

2327

1716

2328

C128

512

2336

633

Nieveria *** Rimac V.: Grave 19 Nieveria * Rimac Valley Grave 8/no.1448 *** Huaca Tello, Cajamarquilla "Trujillo": probably Huaca T., Huachipa Huachipa, Rimac Valley * Catalina Huanca, Rimac Valley Vista Allegre * Rimac Valley Mangomarca *, Zarate, Rimac V. Potrero Tenório**, Zarate, Rimac Valley Potrero Tenório *** Zarate, Rimac V. Maranga, Huaca III Grave CVII *** Rimac Valley Maranga, Huaca III Grave CLXI *** Rimac Valley Aramburu ** Huaca 15 (=III) (Maranga, Rimac)

n/i

n/i

n/i

n/i

n/i

n/i

n/i

n/i

n/i

F

n/i

F

(9.2)

(6.5)

12.0

12.5

7.6

8.9

13.4

15.3

18.0

10.9

8.2

3.4

(4.8)

4.5

(7.5)

(4.4)

3.9

7.6

8.0

8.5

4.5

4.5

3.0

(3.0)

3.4

2.9

2.4

5.7

3.5

4.2

95

Buff

Terracotta + Black, red

Terracotta + Black Orange + black, white Pale terracotta

Cream + black

Terracotta

Orange + greyish-black Dark orange + black

Pale terracotta

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

H

H

H

H

H

S

H

S

H

S

H

H

2 at waist

2 at waist

2 at waist

2 at waist

2 at neck

n/a

2 at neck

n/a

2 waist

n/a

2 at waist

2 at waist

2 behind shoulders 2 behind upper arms 2 behind shoulders

2 shoulders

2 waist

Manufacture Air-holes

HM-M S-H

Group 3: Figurines belonging to or associated to the Nieveria and Maranga pottery styles

2228

2223

2226

2227

PC2L (J. Palacios excavation) PC2L (J. Palacios excavation) PC2L (J. Palacios excavation) PC2L (J. Palacios excavation) PC2L (J. Palacios excavation)

2222

Group 2: Nascoïd Figurines found in a Lima context and Associated Figurines (cont.)

No

TABLE 4(2): FIGURINES BELONGING TO OR CONTEMPORARY WITH THE LIMA STYLE (EIP 5-9)

Gravelot

Head and chest fragment Gravelot

Gravelot

Gravelot

Special Features

See Source

See Source

See Source

Narváez 2004: 322 –listed as coming from Cajamarquilla? Lilien 1956: 53-54, Plate IV d (cat. no. wrongly given as 6002, classified as Gallinazo)

Gayton 1927: 314. Lilien 1956: 121, Pl. V e, f

Published

13

13

13

13

13

13

13

13

13

13

13

13

13

12

12

12

12

12

Plate

403

Source

Site

Sex H (cm)

W (cm)

Th (cm)

Measurements Wgt (g)

Colour

HMB 4-9336a (Uhle excavation) HMB 4-9336b (Uhle excavation)

337

P467

Fernandez Sotomayor 1960:Lám.III, fig.1 EMB VA 63979 (Collection E. Wolker)

Atypical

P471

P470

Associated Amulets

Chancay

Nieveria ** Rimac Valley Nieveria ** Rimac Valley

n/i

F

F

13.7

2.1

2.1

9.7

ca 0.7

7.7

ca 1.0

200

Black, white, orange Orange + greyish black, red HM

HM

HM

HM

H

H

S

S

no

n/a

n/a

Manufacture Air-holes

HM-M S-H

Group 3 (cont.): Figurines belonging to or associated to the Nieveria and Maranga pottery styles

No

TABLE 4(3): FIGURINES BELONGING TO OR CONTEMPORARY WITH THE LIMA STYLE (EIP 5-9)

Body fragment Double face

Special Features

See Source

Gayton 1927: fig.6 b

Gayton 1927: fig.6 a

Published

13

13

13

13

Plate

404

Paramonga * Pativilca Valley

Site

1

PMH 46.77.30/6212 (Lothrop) PMH 46.77.30/6213 (Lothrop) PMH 46.77.30/6214 (Lothrop) PC1NY PC2NY PC2NY

1655

Huacho * Huaura Valley Huacho * Huaura Valley Huacho * Huaura Valley

Chancay Valley ?

near Lima * Rimac Valley Chancay Valley ?

n/i n/i n/i

F?

F?

n/i

M

n/i

F

n/i n/i

n/i

The front is mold-made, the back could be hand-made

2120 1909a 1909b

1657

1656

Associated Amulets:

829

828

421

MNAA 45241 (confiscated) EMB VA 48859 (Van den Zypen) MPCS n/n (Horkheimer excavations?) MPCS n/n (Horkheimer excavations?)

1083

SAC 351 SAC 309

824

n/i

PMH 42.12.30/3232 near Huacho * (Lothrop) Huaura Valley M/UNMSM 2179 Andoy 3 nr Lima* (also "A2 – 302/ 1.15779", Rimac Valley e.g. MNAA excavation?)

n/i n/i

F

1670

Peru: North Coast

Pachacamac *

F n/i F

n/i

n/i

n/i

Sex

n/i

SAC 407

NGSW 44.518 EMB VA 39056 (Van den Zypen) PMH 973..24.30/8899 (E. Elifson collection)

MNAA 45240 (confiscated) MHP 30.19.257 Pachacamac (Berthou Coll./Gift Capitan)

MAL 3349

Source

SAC 469

SAC 307 779

1669

SAC 352 C131 292

511

800

549

No

2

2.7 0.9 0.9

1.0

1.4

1.5

(7.8)

(6.4)

7.0

4.5

8.5 5.5

5.1

5.2

9.0

6.0 9.0

5.5

9.0 ca 7.8 9.8

7.3

(5.4)

6.8

W (cm)

1.7 0.9 0.9

1.1

1.1

1.6

4.6

2.8

5.0 4.0

3.8

3.4

5.5

5.5 5.7

3.7

5.4

5.5

5.4

4.2

4.7

Th (cm)

Measurements

290

110

120

400

340

150

Wgt (g)

Pale orange + Grey White + red Orange + dark red Buff + Dark red

Pale orange + brown Pale orange

Pale terracotta

Buff + white

Terracotta

Black, red on ? Black, white, red on? Buff + pale red

Pale orange + black, white Orange + black, white, cream Black on red Buff + black, white, red Terracotta? + white, red Pale orange + black, white Black, white on orange

Orange + black, white Black, red on ?

Orange + black, whiite Orange + black?

Colour

The holes do not reveal a hollow interior

4.0 1.8 1.8

2.3

2.9

4.7

(13.0)

(12.5)

21.2

12.0

23.0 14.0

15.2

15.3

22.0

14.0 21.2

15.5

23.5 ca 17.0 25.1

23.2

17.2

18.5

H (cm)

3

S S S

S

S

S

H

H

S

H

H

H? 2

n/a n/a n/a

n/a

n/a

n/a

1 penis, 1 anus (others?)

4 chest (2f+2b) 1 vulva n/a

4 chest (2f+2b) 4 chest (2f+2b)

4 chest (2 front + 2 back) 4 chest (2 front + 2 back)

4 chest (2f + 2b) 4 chest (2f + 2b) 1 anus 4 chest (2 f+2b) 2 nose 4 chest (2f+2b) 4 chest (2f + 2b) 2 nose, 2 ears 4 chest (2f+2b)

4 chest (2 front + 2 back) 4 chest (2 front + 2 back) 4 chest (2 front + 2 back)

Site not located

HM HM HM

HM

HM

HM

HM

M

HM

M1

M

1

M1

M M1 H

H

1

M

H

M1

HM?

H

H

M

H

1

H

Manufacture SAir-holes

M1

HM-M

Head fragment Body fragment

Special Features

TABLE 5: EARLY MIDDLE HORIZON GROUP 1: FIGURINES POSSIBLY ORIGINATING IN THE SOUTH/CENTRAL SIERRA

Morgan (1989): Fig.11

Morgan (1989): Fig.12

Published

15 15 15

15

15

15

15

15

15

15

15 15

15

15

14

14 14

14

14 14 14

14

14

14

Plate

405

2

1

EMB VA 39051 (Van den Zypen) UPMP 28443 (3227) (Uhle excavations)

431

AMNH B 503 2 (Bandelier excavation) EMB VA 39065 (Van den Zypen)

Pachacamac *

Pachacamac **

Pachacamac *

Pachacamac *

Pachacamac * Gravefield I 1 Pachacamac *

Pachacamac *** Oldest part of Gravefield I Pachacamac *

Site

n/i

n/i

n/i

n/i

n/i

n/i

13.4

23.3

13.7

(11.1)

15.6

14.3

14.2

17.2

F n/i

17.0

ca 18.0

H (cm)

F

Sex

8.0

9.5

5.1

5.0

7.0

5.2

5.0

6.2

6.4

W (cm)

6.1

8.6

4.5

3.8

5.4

3.4

3.6

4.2

ca 5.5

Th (cm)

Measurements

170

750

100

260

170

160

260

Wgt (g)

Terracotta + black, white

Grey + black, pale grey, white, orange

Brown + greywhite, red, dark red Pale brown + red, white Buff + red, dark red Terracotta + red, dark red Orange + white, grey

Terracotta + black, white, orange Brown + black, red, cream

Colour

HM

HM

HM

HM

HM

HM

HM

HM?

HM

H

H

H

H

H

H

H

H

H

1 top of head 2 shoulders

2 base

2 waist

2 behind upper arms 2 behind upper arms 2 waist

1 mouth 2 behind upper arms

2 behind upper arms

2 waist

Manufacture HM-M S-H Air-holes

Catalogue entry reads “probably Gravefield I—bought from huaqueros” Originally numbered B 504, but now renumbered B 503, because that number tallies with the description in the AMNH catalogue.

426

1428

Associated

782

441

EMB VA 39069 (Van den Zypen) MNAA 1679 (no data)

EMB VA 19110 (Baessler ) SAC 344

436

780

EMB VA 19111 (Baessler )

451

1518

UPMP 28438 (1049) (Uhle excavations)

Source

1533

No Attached to cane litter; Gravelot Attached to cane litter

Special Features

Published

Lilien 1956: 167 ff, Table 10, Pl. XII b.

Morgan (1989): Fig.10

Lilien 1956: 172ff, Table 10, Pl. XII i, j; Fleming, Miller, Brahin 1983

TABLE 6: EARLY MIDDLE HORIZON SUB-GROUP 2.1: FIGURINES BELONGING OR RELATED TO THE WARI-PACHACAMAC STYLE

16

16

16

16

16

16

16

16

15

16

Plate

406

4

3

2

1

MAL 1634

UPMP 34150 (1435) (Uhle acquisition)

534

1499

MHP 78.2.744 (Gift Wiener) MHP 32.108.57 (Gift Ber)

UPMP 29543 (Uhle excav. no. 1187) UPMP 27595 (Uhle excav. no. 315a)

Pachacamac ** "Beneath Temple" Pachacamac** from loosened soil 4

Ancón *

Pisquillo Grande* Chancay Valley Quintay ** Huaura Valley

Ancón ** Site P Grave P6 3

Ancón *** Site P - Grave 25

Ancón **

(Pachacamac?)

Pachacamac *

Pachacamac ** Gravefield 11 Pachacamac ** Oldest part of Gravefield I Pachacamac *

Site

F

F

F

n/i

(5.5) (6.4)

(7.1)

11.6

8.0

(2.7)

6.5

(6.8)

(5.6)

6.8

7.0

7.2

6.9

5.8

5.4

4.4

4.7

5.4

W (cm)

(4.0)

(3.2)

3.5

3.9

(1.4)

3.9

4.2

3.9

5.0

4.4

4.0.

4.5

6.1

3.7

3.4

3.5

3.9

Th (cm)

Measurements

(8.1)

20.6

(16.5)

(5.3)

17.2

(13.9)

n/i F

(12.7)

17.2

15.1

19.0

16.5

17.1

16.4

n/i

n/i

n/i

n/i

n/i

F

n/i

13.0

12.3

F M

(15.8)

H (cm)

n/i

Sex

410

400

340

280

267

170

Wgt (gr.)

Grey

Brown

Terracotta

Black

Dark grey + traces of red

Terracotta

Black

Brown

Greyish brown

Terracotta

Terracotta

Terracotta

Brown (+ red paint on face) Pale orange

Greyish (eroded) + traces of brown slip Terracotta

Brown

Colour

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

H

S

S

S

S

S?

H

H

H

H

H

H

H

S?

H

H

HM HM

H

2 at waist 2

n/a

n/a

n/a

2 at waist 2

2 through chest (2 front + 2 back)

2 at shoulders

2 at shoulders

2 at shoulders

2 behind upper arms 2 behind upper arms 2 2 behind upper arms; 1 vulva 2 at waist 2 forehead 2 at shoulders

2 behind upper arms

2 at waist

Manufacture S-H Air-holes

HM

HM-M

Catalogue entry adds “bought from huaqueros”. Lateral perforations appear to go from side to side. In the inventory of Grave P6, under no. 5963, Uhle writes: “Black figure of clay (old type) (or is it P5, 10?)”. This figurine fragment may not be from Gravefield 1

1478

1515

Associated

79

95

Atypical

HMB 4-5963 (Uhle excavation)

EMB VA 39075 (van den Zypen) EMB VA 39070 (van den Zypen) EMB VA 39066 (catalogue card missing) MHP 32.108.2 (Gift Ber) MHP 78.2.743 (Gift Wiener) MNAA 35/105 (no data) EMB 6406 (Reiss and Stübel excavations) HMB 4-6184 (Uhle excavation)

UPMP 29449 (252) (Uhle acquisition) UPMP 28446 (1061) (Uhle excavation)

Source

2008

2009

227

1031

94

518

440

256

442

1508

1507

No

Head fragment

Gravelot

Gravelot

Special Features

Lilien 1956: 167ff, Table 10, Pl. .XII f, g.

Reiss and Stübel 1880-87:vol.III,Pl.91,fig.9; Lilien 1956: 167ff, Table 10; Kaulicke 1983: Abb.64.9; Haas 1986: no. 101 Strong 1925: 150, Pl.49j; Lilien 1956: 167ff, Table 10; Menzel 1964: note 325; 1977: 44; Kaulicke 1983: Fig. 5.10; Abb.54, E1. Strong 1925: 150-151, Pl.49i; Lilien 1956: 167ff, Table 10; Kaulicke 1983: Fig. 5.11; Abb.53, F1,

Lilien 1956: 167ff; Table 10; Plate XIIc

Lilien 1956: 167ff; Table 10; Plate XIIe

Published

TABLE 7: EARLY MIDDLE HORIZON SUB-GROUP 2.2: FIGURINES RELATED TO WARI-PACHACAMAC AND TO OTHER LOCAL TRADITIONS

17

17

17

17

17

17

17

17

17

17

17

17

17

17

17

17

17

Plate

407

MNAA 1/1817 " U" New no.: C-22503 (data: see Chapter 6)

2346

Pachacamac * n/l

n/i

n/i

n/i

n/i

n/i n/i

(15.0)

16.0

12.8

13.8

12.0

20.5 12.9

22.9

3

n/i

15.1

17.4

15.3

H (cm)

n/i

n/i

n/i

Sex

7.5

7.9

9.4

8.5

9.8

14.0 8.7

9.6

10.5

8.2

W (cm)

5.5

4.8

5.5

5.1

4.6

6.0 5.2

4.6

5.0

5.7

Th (cm)

Measurements

250

270

260

230

260

460 2

280

Wgt (gr.)

HM

HM

HM

HM

HM

HM

Brown

HM

H

H

H

H

H

H

S?

H

H

2 behind upper arms 1 between legs 2 behind upper arms Base missing

2 neck 1 between legs 2 waist

2 neck

2 through chest 2 neck

2 behind upper arms 2 behind upper arms (from side to side)

2 behind upper arms

Manufacture Air-holes

HM-M S-H

Terracotta + traces HM of red paint on face Terracotta HM

Brown

Buff

Black on cream Dark Terracotta

Terracotta + traces of black Black, red on pale brown

Greyish brown (originally red slip?)

Colour

Gravelot

Gravelot

Special Features

Lilien 1956: 173, Table 10, Pl. XII d

See Source

Strong 1925: 150-151, Pl.49h; Lilien 1956:172, Table 10; Kaulicke 1983: Fig. 6.10; Abb.54, A1.

Published

2

This figurine is clearly P.8571, drawn and described under Ancón 1- T.665 (Inventario, vol. XII, p.?) Considering the size of this figurine and the consistent weight within the sample, this weight may have been incorrectly recorded: it is not included in the statistics. 3 Listed as "Female figurine" by Sawyer, but no genitals are shown.

1

AMNH B 8945 (Gáffron collection)

MVM G 1454 (Gáffron collection) MHP 78.2.738 (Gift Wiener) UPMP 28447 Pachacamac ** Oldest (Uhle excav. no. 387) part of Gravefield I MNAA n/n (15)

1355

1055

1506

96

SAC 279 1219

P472

Sawyer 1975: 177, no. 121

Ancón 1 - T.665 ***

MCP n/n (P.8571) 1 (MNAA excavations) MAL 3381

874

538

Ancón, Site P *** Grave 5

HMB 4-5942 (Uhle excavations)

2007

Site

Source

No

TABLE 8: "TRANSITIONAL" EARLY- LATE MIDDLE HORIZON GROUP 1: MISCELLANEOUS HYBRID FIGURINES

18

18

18

18

18

18 18

18

18

18

18

Plate

408

MPCS 5-6 E-4 B-1 348 = La V (11) 5 1 (Excav. Horkheimer) MAL 3366 (no data) MAL 3350 (no data)

830

1

Villacorta and Tosso 2000: 105 + Fotos 16, 26 (Exc. Horkheimer) MAL 3214 (no data)

P476

Pisquillo * Chancay Valley

Lauri V, grave 9 *** Chancay Valley

Pisquillo Chico * Chancay Valley

Hacienda Humaya * Huaura Valley

n/i

n/i 14.9

ca 11.2

8.9

13.8

n/i

n/i

8.0 17.3

14.5

17.4

14.8

H (cm)

n/i n/i

n/i

n/i

n/i

Lauri V grave 11 *** Chancay Valley

Pisquillo Grande * Chancay Valley Pisquillo Grande * Chancay Valley

Sex

Site

7.9

ca 7.3

5.7

6.8

4.0 7.5

6.3

8.3

7.8

W (cm)

4.9

3.3

5.0

2.2 5.1

4.4

5.9

4.7

Th (cm)

Measurements

This corresponds to Lauri cateo V/ tumba 11/ especimen V

599

Associated

MAL 3356 (no data)

552

Atypical

SAC 312 1713 PMH 46.77.30/5140 (Lothrop) 1033 MNAA 16/270 (no data)

592

589

Source

No

220

75

280

295

185

315

200

Wgt (gr.)

Brown (+ traces of black?)

Grey

Red

Red Red

Red

Grey-black

Grey-black (graphite sheen)

Colour

HM

HM

HM

HM HM

HM

HM

HM

H

S

H

H

H

H

H

2 at armpits (front and back)

n/a (2 front + 2 back)

2 behind upper arms (low) 2 behind upper arms (low)

2 behind upper arms (low) 2 behind upper arms (low)

2 behind upper arms (low)

Manufacture Air-holes

HM-M S-H

TABLE 9: "TRANSITIONAL" EARLY-LATE MIDDLE HORIZON GROUP 2: THE TEATINO FIGURINES

Gravelot

Gravelot

Special Features

See Source

Lilien 1956: 1669ff, Table 10, Pl. XII a.

Villacorta and Tosso 2000: 106 + Foto 18

Published

19

19

19

19

19 19

19

19

19

Plate

409

Source

Site

Type Sex H (cm)

W (cm)

PMH 46.77.30/6136 (Lothrop) MRAHB AAM 46.7.205 (Grenade/Melendez) MVM G 415 (Gaffrón collection) MVM G1445 (Gaffrón collection) MVM G 414 (Gaffrón collection) MVM G 711 (Gáffron collection)

“Supe, Huacho”

Supe, Supe Valley

Supe, Supe Valley

Supe, Supe Valley

Supe, Supe Valley

Supe, Supe Valley *

HMB 4-7674 "presum. S. Nicolas " ** (Uhle excavations) Chimu Capac Supe V. 1 HMB 4-7671 "presum. S. Nicolas " ** (Uhle excavations) Chimu Capac Supe V.1 HMB 4-7670 "presum. S. Nicolas " ** (Uhle excavations) Chimu Capac Supe V.1 HMB 4-7673 "presum. S. Nicolas " ** (Uhle excavations) Chimu Capac Supe V.1 2 AMNH 41.0.4751 "presum. S. Nicolas " ** (Uhle excav. 4-7672) Chimu Capac Supe V.1 HMB 4-7178 San Nicolas**, Chimu (Uhle excavations) Capac, Supe V. Kroeber 1925b: Pl.76b "presum. S. Nicolas " ** (Uhle excav. 4-7647) Chimu Capac Supe V.1 HMB 4-7360 San Nicolas**, Chimu (Uhle excavations) Capac, Supe V. HMB 4-7361 San Nicolas**, Chimu (Uhle excavations) Capac, Supe V. PMH 46.77.30/6133 Supe, Supe Valley * (Lothrop) PMH 46.77.30/6134 Supe, Supe Valley * (Lothrop)

B

A

A

A

A

A

B

B

B

B

A

A

A

A

A

A

A

n/i

n/i

n/i

n/i

n/i

n/i

n/i

n/i

n/i

n/i

n/i

n/i

n/i

n/i

n/i

n/i

n/i

12.0

20.3

19.5

15.8

16.3

13.7

13.1

7.4

13.1

11.7

17.9

15.7

13.2

13.5

15.3

13.3

13.7

9.4

8.7

10.7

9.4

9.8

7.0

9.7

6.1

(10.4)

ca 9.8 10.1

10.0

8.2

8.5

9.7

8.2

8.0

5.9

5.9

7.3

6.2

6.1

6.0

6.0

3.8

4.8

5.8

7.0

5.5

5.8

6.2

5.3

4.0

220

410

490

380

320

240

230

100

250

310

290

350

400

400

360

Wgt (g)

Buff + black, red

Orange + black, white, dark red Black, white, red on orange Dark orange

Pale orange + Black, orange

Buff + black, red

Orange + red

Pale terracotta

Red, white on buff Cream on brown

Terracotta + cream

Orange + black, red Orange + red

Buff + red, cream Orange + red

Buff + red

Colour

M

M

M

M

M

M

M

M

M

M

M

M

M

M

M

M

M

H

H

H

H

H

H

H

H

H

H

H

H

H

H

H

H

H

Back A1 variant (as 1435, below) Back A1 variant (as 1982, above) Double face

Back A1

Back A1

Back A1

Special Features

2 at upper arms

2 at upper arms

2 at upper arms

2 at upper arms

2 at upper arms

2 at upper arms

2 at upper arms

Back C (variant) Back C (variant) Back A2 (variant)

Back C

Back B/E (=variant with earplugs) Back C (variant) Back A2 (variant)

Back D; feathers stuck to face 2 at upper arms (right Back C higher than left) 1 at neck (left only) Back B

2 at upper arms

2 at upper arms

2 at upper arms

2 at upper arms

2 at upper arms

2 at upper arms

2 at upper arms

Manufacture Air-holes

HM-M S-H

21

21

21

21

21

21

21

Lilien 1956: 173ff, Table 11, Pl. XIIIb. Lilien 1956: 173ff; Table 11; Pl. XIIIc

20

20

20

20

20

20

20

20

20

20

Plate

Lilien 1956: 173ff; Table 11; Pl. XIIIa

Kroeber 1925b: Pl.76c; Lilien 1956: 173ff; Table 11.

See Source; Lilien 1956: 173ff, Table 11.

Lilien 1956: 173ff, Table 11, Plate XIII d, e.

Kroeber 1925b: Pl.76a; Lilien 1956: 173ff, Table 11.

Published

1 Uhle's numbering of artifacts at Supe presented Kroeber with some problems (Kroeber 1925b: 236-238). Although only 9 objects – none of them figurines – are labeled as coming specifically from Chimu Capac, the whole site excavated by Uhle at the Hacienda San Nicolas was known as Chimu Capac (Kroeber 1925b: 257; Menzel 1977: 29). Uhle's numbers 7633-7651 and 7657-7709 (amongst others) are from a "Location not specified, but presumably San Nicolas" e.g. Chimu Capac (Kroeber 1925b: 237). 2 The AMNH catalogue entry reads: “Exchange with University of California Museum of Anthropology”. The old numbering shows that the figurine comes from Uhle’s excavations at Supe.

1209

1175

1230

1176

135

1679

1720

1719

1987

1988

P473

1986

1435

1982

1985

1984

1983

Th (cm)

Measurements

Figurines from San Nicolás/Chimu Capac and the Supe valley

No

TABLE 10 (1): LATE MIDDLE HORIZON GROUP 1: THE SUPE FIGURINES

410

663

2182

1862

351

1643

2196

1185

136

1322

2203

596

2035

2034

2037

P475

831

595

1989

1718

1717

Hacienda Humaya * nr Huacho, Huaura V. Vilcashuaura, * Huaura Valley Salinas de Huacho** Huaura Valley Salinas de Huacho * Huaura Valley MPCS La V 3 VI Lauri V, grave 3 *** (Horkheimer excav.) Chancay Valley Villacorta and Tosso Lauri V, grave 4 *** 2000: Foto 24 Chancay Valley HMB 16-1654 Chacarilla * near (Uhle collection) Chancay (not located) HMB 16-1021 La Mina * (Uhle collection) Chancay Valley HMB 16-1022 La Mina * (Uhle collection) Chancay Valley MAL 2852 Horcon * nr Pisquillo Chico, Chancay V. MAL 4346 Tronconal nr Huando* Chancay Valley MVV 91005 Huacho, (Wickenburg coll.) Huaura Valley MRAHB AAM 46.7.205 “Huacho?” (Grenade/Melendez) MVM G 507 Huacho, (Gaffrón collection) Huaura Valley LMS 52622 Huacho, (Sutorius collection) Huaura Valley PMH F377 Chancay (Gift P.A. Means) EMB VA 48484 Huacho * (van den Zypen) Huaura Valley MAI 5/1734 Chancay (Th. Sullivan Coll.) MAAC 61.211 Laure (sic!) , (Gift B.Simmonds) Chancay Valley MNAA J.G./269 Chancay (Julio García excav.?)

PMH 46.77.30/6162 (Lothrop) PMH 46.77.30/6313 (Lothrop) HMB 4-7656 (Uhle excavations) MAL 1739

B

B

B

B

A

A

A

A

A

A

A

A

A

B

A

A

B

A

B

A

n/i

n/i

n/i

n/i

F

n/i

n/i

n/i

n/i

n/i

n/i

n/i

n/i

n/i

n/i

n/i

n/i

n/i

n/i

n/i

Figurines from the Huaura and Chancay Valleys

14.3

14.4

16.3

11.5

14.3

(16.8)

14.0

16.2

15.0

21.0

15.7

19.0

19.0

17.8

15.8

15.3

15.7

8.0

9.0

H (cm)

15.3

12.3

13.4

8.4

8.7

7.6

8.9

10.2

9.2

10.5

10.4

9.5

9.5

13.0

10.5

(12.5)

9.3

5.3

5.8

W (cm)

9.3

5.5

7.3

5.1

5.8

6.0

7.0

5.5

6.5

6.4

6.4

9.3

6.0

5.6

5.4

3.4

4.4

Th (cm)

440

360

380

260

300

280

400

320

380

580

410

300

90

140

Wgt (gr.)

Terracotta + white Orange + white, red Orange + black, white, red Terracotta + traces of black Dark brown, brown, cream on terracotta

Orange

Orange + black, pale orange Orange + black, dark red Orange + black, dark red Orange + black, cream Terracotta + brown, dark orange, white Orange + black, red, dark red Orange + black, white, red Pale orange

Orange + black, red Red on dark orange Terracotta + traces of white Buff + black, red

Buff

TABLE 10 (2) : LATE MIDDLE HORIZON GROUP 1: THE SUPE FIGURINES No Source Site Type Sex Measurements Colour

M

M

M

M

M

M

M

M

M

M

M

M

M

M

M

M

M

M

M

HM-M

H

H

H

H

H

H

H

H

H

H

H

H

H

H

H

H

H

H

H

2 behind upper arms

2 at upper arms

2 at upper arms

2 at upper arms

2 at upper arms

2 at upper arms

2 at upper arms

2 at upper arms

2 at upper arms

2 at neck

2 at upper arms

1 under right foot

1 under left foot

2 at upper arms

2 at upper arms

2 shoulders

2 at upper arms

2 at upper arms

2 at upper arms

Manufacture S-H Air-holes

Lilien 1956: 173ff; Table 11; Pl. XIIIg, h.

Lilien 1956: 173ff; Table 11; Pl. XIIIf.

Published

Back A1 (variant with earplugs) Back A1 variant (see Plate) Back B: plain, showing the ear-plugs

Back A1a

Back A1 variant Back: special(see Plate) 4 picos broken off Back D

Back A1

Back A1; Feet turned inwards Back A1 Four picos headdress Back A1

Identical pair; both Back A1

Back A1a

Back A4 (variant with earplugs) Back A1; Morgan (1989): Fig.14: Villacorta and Tosso 2000: 102 and Foto 23. Gravelot See Source Gravelot

Back C

Back A3

Back A3

Special Features

23

23

23

23

23

23

23

23

22

22

22

22

22

22

--

22

22

22

22

22

Plate

411

2

1

EMB VA 6404 (Reiss and Stübel) EMB VA 6405 (Reiss and Stübel) HMB 4-5716 (Uhle excavations)

MNCP P.8747

MNCP P.8965

MNCP P.8958

MNCP P.8966?

864

1046

1047

868

n/i

B

B

Ancón 1, T. 614***

Ancón *

Ancón 1, T.879 ***

Ancón 1, T. 873***

Ancón 1, T. 873***

Ancón 1, T.680 ***? 2

Ancón 1, T.680 ***

Ancón 1, T.680 ***

Ancón 1, T. 674***

probably B B n/i

n/i

n/i

n/i

n/i

B

probably B B

n/i

n/i

n/i

n/i

B

B

B

B

n/i

B

Ancón 1, T. 619***

n/i

B

n/i

n/i

B

Ancón** Site M or T 1 Ancón** Site M or T 1 Ancón** Site M or T 1 Ancón 1, T. 105***

n/i

n/i

n/i

n/i

B

A

B

B

Ancón Grave T 11***

Ancón Grave T 7 ***

Ancón **

Ancón **

6.9

14.5

15.5

15.7

15.4

12.6

16.6

15.8

(12.0)

13.0

13.0

14.0

13.8

19.0

5.7

11.7

5.2

12.5

12.3

12.5

11.1

(11.7)

13.0

(17.0)

12.7

9.7

10.2

11.2

10.8

4.5

(10.6)

W (cm)

2.6

5.0

6.1

4.8

7.5

6.7

6.0

5.3

6.0

6.0

2.4

(4.6)

Th (cm)

350

190

450

270

360

370

30

Wgt (gr.)

Terracotta + black Terracotta

Orange + black, white, red

Orange + black, white, red Orange + black, white, red Black, white, red on terracotta Black, white, red on terracotta Terracotta + white

Orange

Orange + white, red (front only) Orange + white, red Brown + cream

Terracotta + white Terracotta + traces of white Dark orange + white

HM?

M

M

M

M

M

M

M

M

M

M

M

M

HM-M

H

H

H

H

H

H

H

H

H

H

H

H

H

Back B variant Back B

Special Features

Published

Reiss and Stübel 1880-87: Vol.III, Pl.91, fig.5; Kaulicke 1983; Abb.64.5; Haas 1986: no.102; 2 at shoulders Reiss and Stübel 1880-87: vol.III,Pl.91, fig.12; Kaulicke 1983: Abb.64.12; Haas 1986:no.103 2 at upper arms Back: special Strong 1925: Pl.49e; Menzel 1977:49, fig.118; (see Plate) Lilien 1956: 187ff, Table 12; Kaulicke 1983: Fig. 7.10; Abb. 57.B1; . Gravelot Back ? Gravelot with P477/ Late See Source; Lilien 1956: 173ff.,Table 11; MH sg. 2.2 (Strong Pl.49f + Pl.45o;. Kaulicke 1983: Fig. 7.9; Abb.55.2. Kaulicke 1983: Abb. 55, Gravelot A. 2 at upper arms Back A1 Gravelot 2 at upper arms Back A1 Gravelot 2 at upper arms Back D variant Back ? Gravelot Back ? Gravelot 2 at shoulders Back ? Gravelot with (Inventario Vol. XII.?) 866/Chancay sg. 1.4.1 2 at shoulders Back C (Inventario Vol. VIII, p .1-3) Gravelot 2 at upper arms G Back B (Inventario Vol. IX or X ?) R 2 at shoulders A Back A4 V (variant) 2 behind upper E arms L Back D O T 2 at shoulders Back ? Gravelot Back? Feet turned inwards Back ? Gravelot 2 at upper arms Back B Lilien 1956: 173ff, Table 11, Pl. XIII j.

2 at upper arms

Manufacture S-H Air-holes

Although the exact location of the graves is not known, Uhle (Inventory VII, 27-28) gives details regarding the two gravelots containing 2012 and 2011+2062 respectively. It is not certain that 868 does come from T.680, as both the specimen number and the grave number are partly illegible; however the Inventario description and drawing appear to tally.

P.11187 Inventario vol. IX or X, pp. 24-28 P.11200 Inventario vol. IX or X, pp. 24-28 P.11314 Inventario vol. IX or X, pp.43-45 1792 AMNH B3719 (Bandelier)

MNCP P.8150

867

Strong 1925: 149 + Pl. 49g (Uhle excav. 5707) 2012 HMB 4-5870 (Uhle excavations) 2011 HMB 4-5871 (Uhle excavations) 2062 HMB 4-5872 (Uhle excavations) P. 1415 Inventario vol. V?, pp. 37-40 P. 8055 Inventario vol. XII p?

P474

2014

236

223

Figurines from Ancón

H (cm)

TABLE 10 (3): LATE MIDDLE HORIZON GROUP 1: THE SUPE FIGURINES No Source Site Type Sex Measurements Colour

24

24

24

24

24

24

24

24

24

24

24

24

24

24

23

23

23

23

Plate

412

1

EMB VA 18865 (Baessler Coll.) SIW 107416 (W.H.Jones coll.) MHP 32.108.48 (Gift Ber) DNC O.D.I c.239 (Acqu. from MHP) EMB VA 3846 (Macedo Coll.)

“Ancón?”

Ancón

Ancón

Ancón

Ancón

B

B

B

B

B

n/i

n/i

n/i

n/i

n/i

AMNH 41.1.8104 (Gift Foundation Co) MNAA 16/254 (no data) MNAA 41984 (confiscated)

LACM P. 351.59-4 (Purchase) BCM A 788 (Bought at auction) MAL 4316

MNAA J.C./278. (J. Casafranca excavation) LACM P.351.59-2 (no data) LACM P.351.59.3 (no data) MHP 32.108.52 (Gift Ber) MAI 6/5868 (A. Reid collect.) EMB VA 49691 (van den Zypen) MAI 21/2276 (Purchase)

"Lima?"

Vicinity of Trujillo

Pachacamac

Coast of Peru

Pachacamac

Appears to have had legs

664

662

1756

2204

1142

1928

SAC 304

1868

354

1800

514

1929

1927

672

B

B

B

A

A

A

A

A

A

A

A

AB

A

A

n/i

n/i

n/i

F

n/i

n/i

n/i

n/i

n/i

n/i

n/i

n/i

n/i

n/i

Figurines without (or with doubtful) provenance

469

2172

89

1453

355

Figurines from Ancón (cont.)

13.7

13.2

14.4

17.5

13.0

13.0

18.5

8.2

15.4

14.2

12.8

14.0

17.2

16.3

15.4

9.7

11.0

12.8

11.0

7.8

7.9

9.8

4.8

10.8

9.1

(8.2)

9.2

10.2

10.0

14.5

10.6

7.3

(9.1) 1 14.1

13.1

6.4

W (cm)

15.5

10.1

H (cm)

5.4

6.0

5.8

5.7

(5.3)

5.0

2.6

6.6

6.2

4.5

5.1

6.2

6.7

4.8

4.7

3.5

6.3

(4.2)

Th (cm)

290

250

400

280

240

90

340

310

240

440

410

570

400

490

150

Wgt (gr.)

Orange + black, white, red Orange + cream, dark orange

Terracotta

Buff + traces of black Red + black

Grey

Red, white, black

Orange + black, white, red Terracotta + white

Tan + black, white, red Orange + red, white Buff + traces of black Buff + red

Orange + black, white, red

Black, white, red on terracotta 1

Terracotta + cream Terracotta

Dark buff

Buff

TABLE 10 (4): LATE MIDDLE HORIZON GROUP 1: THE SUPE FIGURINES No Source Site Type Sex Measurements Colour

M

M

M

M

M

M

M

M

M

M

M

M

H

H

H

H

H

H

H

H

H

H

H

H

H

H

M

M

H

H

H

H

M

M

M

M

2 at upper arms

2 at upper arms

1 at vulva 1 through base 2 shoulders

2 at upper arms

2 at upper arms

2 at shoulders

2 at upper arms

2 at upper arms

2 at upper arms

2 at upper arms

2 at upper arms

2 at upper arms

2 behind upper arms

2 at neck

2 at upper arms

2 at upper arms

2 at neck

Manufacture Air-holes

HM-M S-H

Back A3

Back A1

Back A1; Inset turquoise eyes? Back A3

Back A2 variant: painted stripes Back special: see Plate Probably C (by analogy with 1230, see Plate 21) Back B variant: with incised decor Back C

Back A1

Back C

Back A1

Back C

Back A1 (variant: painted)

Back D variant

Back B

Back B variant

Back special (see Plate) Back A3

Special Features

Published

26

26

26

26

26

26

26

25

25

25

25

25

25

25

25

25

25

25

24

Plate

413

3

2

1

Pachacamac

Haracha (not located)

Coast of Peru

Rimac Valley

B

B

B

B

B

B

B

B

B

B

n/i

n/i

n/i

n/i

n/i

n/i

n/i

n/i

n/i

n/i

n/i n/i n/i

n/i

n/i

n/i

n/i

n/i

n/i

n/i

12.7

16.0

14.1

11.7

14.5

(14.5)

13.6

11.9

9.9

4.3

14.0 11.0 7.3

12.5

12.1

4.6

5.5

11.6

11.6

16.7

2

9.4

14.3

10.9

9.0

10.8

11.0

9.6

6.7

5.9

2.8

10.0 8.0 5.5

10.5

8.3

3.0

4.2

7.9

8.9

13.2

W (cm)

5.8

5.6

5.8

5.0

5.8

5.4

3.4

4.8

3.7

1.9

6.0 4.5 3.3

4.5

5.0

1.9

2.3

4.4

4.9

7.4

Th (cm)

320

450

300

210

280

380

200

120

20

100

220

150

220

440

Wgt (gr.)

Terracotta + black

White on dark red Terracotta + red

Terracotta + black Terracotta

Buff + white, red

White on red 1

Terracotta + white Orange

Terracotta

White on pale terracotta Red + cream (in front only) Orange + red, white, black Orange + black, white, red Orange + black, red Orange + black, white, red Orange + dark orange, cream “polychrome” Red Dark Terracotta

3

H

H

H

H

H

H

H

H

H

H

M

M

M

M

M

H

H

H

H

H

Front = M H Back = HM M H

M

M

M

M M M

M

M

M

M

M

M

M

2 at shoulders

2 at upper arms

2 at upper arms

2 at upper arms

2 at upper arms

2 at upper arms

2 at neck (towards the back) 2 at upper arms

2 at neck

2 at neck

2 at neck

2 at upper arms

2 at upper arms

2 at upper arms

1 at shoulder (left) 1 at elbow (right) 2 at upper arms

2 at upper arms

Manufacture Air-holes

HM-M S-H

The base features two holes as if legs (or feet) had been broken off. Slip in front and only at the back of the head.

Included here because of provenance and of the headdress lacking the characteristic points on the frontal panels.

86

74

1591

161

169

1590

1799

1303

1366

69

MHP 32.108.4 (Gift Ber) MHP 32.108.3 (Gift Ber) AMNH 41.2/5266 (Perpenti collect.) MVV 16536 (Present Sokolski) MAI 6/5871 (Alberto Reid coll.) FMC 5686 (Purchase Harris) MVH 13.141:6 (Gift Einfeld) MVH 13.141:23 (Gift Einfeld) FMC 5687 (Purchase Harris) MHP 78.2.737 (Gift Wiener) MHP 32.108.50 (Gift Ber)

B B B

AB

AB

B

AB

B

SAC 406 SAC 381 68

Vicinity of Trujillo

Central Coast, Peru

B

B

MAI 21/2280 (no data) PC1M

MM 0.1258 (Purch. Darbishire) MAI 22/1678 (Gift Carnahan) MVH 1084 (acqu, .before 1870) PC1NY

SAC 371

1278

1863

2126

201

1826

1129

Figurines without (or with doubtful) provenance (cont.)

H (cm)

TABLE 10 (5): LATE MIDDLE HORIZON GROUP 1: THE SUPE FIGURINES No Source Site Type Sex Measurements Colour

26

Could be NC-MH? 1

Back special (see Plate) Back B

27

27

27

27

27

27

27

26

26

26 26 26

26

26

26

26

26

26

26

Plate

Could be NC-MH? 1

Published

Back B, with painted stripes Back A3 Lilien 1956: 187f, Table 12, Pl. XIVi. variant Back A4 variant; feet folded in front Back A3 variant Back B Lilien 1956: 187f, Table 12, Pl. XIVh.

Back A1

Back A2

Back B

Back B

Back B variant

Back B

Back B

Back A1

Back B

Back C

Special Features

414

1

Source

Site

Type

Sex H (cm)

SAC 302

Logan Museum of Anthropology 5903

775

C 140

Chimbote

Peru, North Coast

Pachacamac

B

A

A

B

B

B

A

A

A

A

n/i

n/i

n/i

n/i

n/i

n/i

n/i

n/i

n/i

n/i

1

15.0

21.5

21.5

14.7

15.0

(12.9)

(17.4)

8.6

14.0

17.4

9.5

10.2

10.4

11.0

10.6

9.0

7.1

5.3

10.7

9.5

W (cm)

6.0

7.0

7.0

5.7

6.3

6.0

6.3

2.7

4.0

4.9

Th (cm)

Measurements

550

540

400

440

70

Wgt (gr.)

Orange + black, white, red Orange + black, white, red Terracotta

Terracotta + black Orange + dark orange, cream (restaured?) Terracotta + white, red Terracotta + red

Buff + Cream

Terracotta + white

Red

Colour

M

M

M

M

M

M

M

M

M

M

HM-M

H

H

H

H

H

H

H

H

H

H

Hollow base

2 at shoulders

2 at shoulders 1 top of head 4 through picos 2 at shoulders

2 at upper arms

2 at upper arms (elbows) 1 at upper arm (right only)

2 at upper arms

2 at upper arms

2 at upper arms

Manufacture S-H Air-holes

Although feet (folded inwards) are shown in front, the base features two holes, which look as if legs (or feet) had been broken off.

SAC 305

MHP 32.108.54 (Gift Ber) MNAA 1/311 Univ. expedition to Ancash, 1919 PMH 42.28.30/4419 (Orlandini Collection purch'sed by Lothrop) MAI 16/1096 (Egbert Lott coll.) MUCLA X68-906 ( or X68-406?) Purch. from May Co MNAA 54507 (confiscated) MArtL 60.51896 (no data)

774

882

796

1913

1812

1736

671

525

Figurines without (or with doubtful) provenance (cont.)

No

TABLE 10 (6): LATE MIDDLE HORIZON INNOVATIVE GROUP 1: THE SUPE FIGURINES

Back A1 Near identical pair 4-picos headdress Back A1 Back special; 4-picos headdress

Back B 4-picos headdress Back B; 4-picos headdress

Back special: see Plate; feet folded in front Back B

Back special: see Plate Back A3 Feed folded in front Back A3 variant

Special Features

Published

28

28

28

28

28

28

28

28

27

27

Plate

415

1

Source

Site

HMB 4-5613 (Uhle excavations) Strong 1925:Pl.49f

MNAA P.5072

2001

P477

1059

Central Coast, Peru

Ancón *

Ancón *

Ancón *

San Isidro de Sayán * Huaura Valley Peru

UPMP 28442/ Uhle 1079b – Uhle excav.

Pachacamac: Oldest part of Gravefield I *** F

23.8

15.9

M

18.0 17.0 21.5

n/i n/i F? n/i

(17.6)

18.3

n/i

F

12.6

F

22.2

18.0

M

n/i

18.0

15.0

6.4

(9.5)

(9.6)

(5.7)

5.6

H (cm)

F

F

F/

n/i

n/i

n/i

n/i

n/i

Sex

12.9

11.5

11.7

15.1

12.5 13.0 13.4

11.5

8.4

11.9

12.2

9.3

4.3

7.4

7.2

4.3

4.5

W (cm)

8.8

7.0

5.2

7.0 6.0 7.0

6.5

3.6

5.3

1.8

2.8

3.1

2.1

3.0

Th (cm)

Measurements

620

420

142

260

Wgt (gr.)

1788 has the same AMNH number (B5334) as 1785/CC-Late MH sg.6.2

1516

A Supe-related Hybrid from Pachacamac

AMNH B 4005 (Bandelier excav.) 190 MVH 57.14:16 (Gift Captain Schenk) SAC 284 (No data)

1348

METNY 1987.394.636 Goldberg Bequest C142 METNY 1987.394.635 Goldberg Bequest 228 EMB VA 11601.b (No data) 768 SAC 308 (No data) SAC 405 (No data) SAC 289 (No data) SAC 283 (No data) SAC 293 (No data)

C141

Ancón 1, Faja 78 **

Ancón Grave T 11***

Ancón Grave M 12***

Sub-group 2.2: Supe-Huaura Hybrids

1820

AMNH B3724 (Bandelier) MAI 22/1678 (Gift Carnahan)

AMNH B5360 (Bandelier) AMNH B5334 1 (Bandelier)

1791

1788

1787

Sub-group 2.1: Supe-Teatino Hybrids

No

Light tan + black, white, red

Terracotta + white, black Terracotta + cream, brown, red Terracotta + cream, brown, red Terracotta + white, grey Terracotta + white, red "Black, white, red" "White on red" "Black, white, red" "White, red on buff" Pale terracotta + buff, red Terracotta + white " White, brown black"

Terracotta + white

Tan

Terracotta

Buff

Light brown

Brown

Colour

TABLE 11: LATE MIDDLE HORIZON GROUP 2: SUPE-RELATED HYBRID FIGURINES

M+ HM

M

M

M

M M M M

M

M

M

M

M

M

HM?

HM?

HM?

HM?

HM?

H

H

H

H

H

H

H

H

H

S

H

H

H?

H?

2 upper arms 1 between legs

2 at upper arms

2 at neck

2 at neck

2 at shoulders

2 at upper arms

2 at upper arms

1 between legs

n/a (2 at neck) (side to side) 2 at neck

2 neck

2 neck

2 neck (side to side) 2 neck (side to side)

Manufacture Air-holes

HM-M S-H

Gravelot

Double-faced

2 pairs of folded arms

Couple

Lilien 1956: 177, Table 10, Pl. XII h.

29

29

29

29

29 29 29 29

29

29

29

29

29

29

Gravelot with P474/Late MH Gr.1: Supe

29

29

29

29

Plate

29 See Source; Lilien 1956:182-184, Table 12; Kaulicke 1983: Fig.7.8; Abb.55 A1

Lilien 1956: 182, Table 12, Pl. XIV a.

Lilien 1956: 182, Table 12, Pl. XIV b.

Lilien 1956: 173ff, Table 11, Pl.XIIIk.

Published

Gravelot

Broken legs

Gravelot with 1785/ Late MH sg.3.1 Broken legs

Special Features

416

1

Source

MHP 56.59.5 (acqu. from P.J Velasco)

1124

Miraflores * Chancay Valley Ancón 1 ** (Surface, Faja 74) Marquez *, Chillón Valley

Ancón or Chancay

Ancón 1, T. 163 ***

Ica Valley º º

Ancón or Chancay

Site

14.0

n/i

10.0

2.2

2.2

5.0

(4.3)

(5.2)

6.5

5.4

(7.1)

5.9

5.0

7.5

2.6

8.0

4.7

5.3

6.0

W (cm)

0.9

1.8

2.8

8.0 (?)

3.3

(2.5)

3.0

1.7

1.2

4.3

1.5

3.2

Th. (cm)

Measurements

60

Wgt (g)

1785 has the same AMNH number (B5334) as 1788/CC-Late MH sg. 2.1

3.0

7.0

F

n/i

Ancón 1, T. 727 ***

6.8

2.2

n/i

Ancón **

7.0

17.5

9.7

(8.3)

10.5

10.0

9.1

8.0

4.1

14.0

8.9

9.0

11.1

H (cm)

n/i

F

n/i

n/i

n/i

n/i

F

n/i n/i

F

F

n/i

n/i

n/i

Sex

Ancón 1, T. 633 ***

MAL 1704 Santa Rosalia * (no data) Huaura Valley 506 b EMB VA 25067 Chuquitanta, Chillón (Baessler) Valley P.11174 Inventario Vol. IX or Ancón 1, T. 873 *** X?, pp.24-28 2320 PC6L

1104

MNCP P.8313 (MNAA excavation) 1785 AMNH B5334 1 (Bandelier excav.) P.9752 Inventario Vol. XII ?

869

Sub-group 3.2 "Birds" and/or "Fish"

SAC 353

1163

259

P.3874

562

695

MAL 1710 (no data) Inventario Vol. V?, p.139 EMB VA 48696 (van den .Zypen) Sotheby, London 22.3.1983 Lot no. 35112

MAL 3931 (no data) PC6L (no data) Inventario Vol. V? p.110 PC1L (no data)

561

2258 P.1849

PC6L (no data)

2257

SAC 346

PC1L (no data)

694

Sub-group 3.1: "Cats"

No

Black, white, red

Black + white pf paint Brown + white pf paint

Terracotta + white pf paint

Brown

Black + white pf paint

Black + white pf paint Black + red pf paint Grey-black + white pf paint

Black + white pf paint Black

Brown Terracotta

Black + white pf paint Black + white pf paint Black + white pf paint Black + white pf paint Black

Colour

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

S

S

S

S

S

H?

S

H?

S

S

S

S

H

S

S

H?

n/a (2 through neck, side to side) n/a (2 through neck, side to side)

n/a (2 through neck, side to side) n/a (2 through neck, side to side)

2 through chest (2 front + 2 back)

n/a (2 at front + 2 at back) n/a (1 through arm, 1 through chest) n/a? (2 at front + 2 at back)

n/a (2 through neck) n/a (2 at arms) n/a (2 at neck)

2 at waist

n/a

n/a ? (2 at front + 2 at back) n/a

Manufacture Air-holes

HM-M S-H

Published

Lilien 1956: Table 25, Pl. XXI, i, j.

(Inventario Vol.XII, p.?)

Gravelot (see 11187, 11200/ Late MH Gr. 1/Supe)

Gravelot

Gravelot

Gravelot

Elongated head

Elongated head

Head fragment

Gravelot

Attached to necklace

Special Features

TABLE 12: LATE MIDDLE HORIZON GROUP 3: ANTHROPO-ZOOMORPHIC FIGURINES ("CAT"- "BIRD"- OR "FISH"-LIKE)

30

30

30

30

30

30

30

30

30

30

30

30

30

30 30

30

30

30

30

30

Plate

417

Source

MRAHB AAM 46.7.206 (Grenade/Melendez) PMH 46.77.30/6135 (Lothrop) MNAA 28214 (confiscated)

Katz 1983: no.156

SAC 403

1017

536

660

MNAA 41611 (confiscated) MAL 1638 (no data) MNAA 45228 (confiscated)

Sitting Figurines

659

1722

119

SAC 399 P478

761

Standing Figurines

No

Supe *

Huacho, Huaura Valley

Central Coast

Site

M

M

F

F

F

F

n/i n/i

F

Sex

13.0

11.8

11.9

14.5

15.0

15.8

13.4 14.5

12.5

H (cm)

(8.0)

8.0

8.6

7.4

8.6

11.4

9.8 11.2

8

W (cm)

5.5

7.2

6.1

6.6

7.1

5.9

6.0

5.5

Th (cm)

Measurements

230

420

400

430

260

Wgt (gr.)

Orange + black, white, purple Orange + black, white, red? Pale orange + black, red

Orange + black, white, purple Orange + black, white, purple

Orange + black, white, purple Orange + black, white, red

Orange + black, white, purple

Colour

M

M+HM

M+HM

M

M

M+HM

M+HM

H

H

H

H

H

H

H

2 behind upper arms 2 behind upper arms No

2 behind upper arms 1 top of head; 2 behind upper arms

2 behind upper arms

2 behind upper arms

Manufacture Air-holes

HM-M S-H

Two figures?

Sitting

Special Features

Published

Ichiki 2012:Fig. 2b

Lilien 1956:184-5, Table 12, Pl. XIV d.

See Source.

TABLE 13: HUAURA GROUP 1: FIGURINES WITH ANIMAL (OR MYTHICAL ?) FEATURES AND WITH HANDS PLACED ON GENITALS

31

31

31

31

31

31

31 31

31

Plate

418

MAL 3354 (no data) MVM G 496 (Gáffron Coll.) MNAA 52890 (confiscated)

550

SAC 220 1521 UPMP 33355 (Uhle excav. 3355) 1189 MVM G 503 (Gáffron Coll.) 1195 MVM G 498 (Gáffron Coll.) 1345 AMNH B8969 (Gáffron Coll.) 2194 LMS 87116 N.C.514 (Krämer/Strösser) 1226 MVM G 1449 (Gáffron Coll.) 1193 MVM G 500 (Gáffron Coll.) 1194 MVM G 499 (Gáffron Coll.) 658 MNAA 35/1322 (no data) 47 BM ST 333 J (no data) 573 MAL 1393 (No data) 141 MRAHB AAM 46.7.200 (Grenade) 1228 MVM G 1447 (Gáffron Coll.) 1192 MVM G 501 (Gáffron Coll.) 434 MVB VA 48481 (van den Zypen) 4 BM 1932.11.12.1 (H .B .Anderson) 656 MNAA 40177 (confiscated) 1803 MAI 10/8574 (purchase)

655

1182

Source

No

Coast of Peru

near Huacho * Huaura Valley

Huacho, Huaura Valley Huacho *

Huacho, Huaura Valley Peru

Huacho Huaura Valley Huacho Huaura Valley

Marquez *, North Huaca, Chillón Valley Huacho Huaura Valley Huacho Huaura Valley Huacho * Huaura Valley Huacho Huaura Valley Peru

Huacho Huaura Valley

Huaura *

Site

17.1

26.5

F F

15.6

16.9

F F

19.7

F

19.2

29.0

F

F

24.5

F

13.4

23.9

F

F

20.0

18.2

F

F

18.0

F

18.3

19.3

F

F

11.2

19.4

9.0

12.0

8.7

10.8

10.6

(11.2)

7.3

16.0

13.3

(15.4)

12.0

11.6

12.4

(11.0)

12.1

12.2

16.7

n/i (F) F

10.0 11.4

12.5

12.6

(8.4)

W (cm)

4.9

6.8

5.2

5.5

5.9

6.2

4.9

8.6

6.6

8.4

7.0

6.8

4.8

4.4

6.3

7.0

5.8

4.0 4.8

6.4

7.8

5.7

Th (cm)

Measurements

13.0 16.6

18.8

20.1

13.0

H (cm)

F F

F

F

F

Sex

Over 1000 270

270

380

590

Over 1000 Over 1000 circa 1000 240

590

620

540

550

540

350

910

280

Wgt (gr.)

Terracotta + white, dark red Terracotta + black, white, dark red Terracotta + black, white, dark red Red + black, white, dark red Terracotta + white, dark red Terracotta (orange) + black, white, red Terracotta (orange) + black, white, red Orange + black, dark red Red + black, white Red + black, white Orange + black, white Terracotta + black, white, red Terracotta + black, white, dark red Terracotta + black, white Orange + black, cream, red Orange + black, white, red Terracotta + white, dark red

Terracotta + dark red, white Terracotta + dark red, white Terracotta + black, white, brown Black-on-white Red + black, white

Colour

TABLE 14(1): HUAURA SUB-GROUP 2.1: STANDARD FIGURINES WITH FOLDED ARMS

M

M

M

M

M

M

M

M

M

M

M

M

M

M

M

M

M

M

F: M B:HM F: M B:HM F: M B:HM

H

H

H

H

H

H

H

H

H

H

H

H

H

H

H

H

H

H

H

H

H

2 behind upper arms

2 at shoulders

2 at neck

2 behind upper arms 2 behind upper arms 2 behind upper arms 2 behind upper arms 2 behind upper arms 2 behind upper arms 2 behind upper arms 2 at shoulders

2 atneck

2 at shoulders

2 at neck

2 at shoulders

2 behind upper arms

2 behind upper arms 2 at neck

2 under feet

2 under feet

2 at neck

Manufacture Air-holes

HM-M SH

Special Features

Lilien 1956: 184ff, Table 12, Pl. XIV c.

Lilien 1956: 185f, Table 12, Pl. XIV d.

Published

33

33

33

33

33

33

32

32

32

32

32

32

32

32

32

32

32

32 32

32

32

32

Plate

419

AMNH B4006 (Bandelier) AMNH 41.2.7303 (Gift Landmann)

1338

MAL 3286

MNAA 54692 (confiscated)

790

MNAA 41654 (confiscated) MVM G 506 (Gáffron Coll.) MAI 23/8597 (Gift A.M.Sackler)

EMB VA 48482 (van den Zypen) EMB VA 48483 (van den Zypen) MNAA 54778 (confiscated) Guarnotta 1985: no. 335 Katz 1983: no. 91 Katz 1983: no. 90

604

1884

1184

657

P481 P482

P480

795

422

437

551

197

1196

1183

1177

SAC 292 1211

MVM G 709 (Gáffron Coll.) MVM G 495 (Gáffron Coll.) MVM G 505 (Gáffron Coll.) MVM G 497 (Gáffron Coll.) MVH 6.36:07 (Gift Lemke) MAL 3346

Katz 1983: no. 159

P479

1399

Source

No

Miraflores * Chancay Valley

Huacho, Huaura Valley

"Perú, costa central: Chancay" Ancón Ancón

Huacho *, Huaura Valley Huacho * Huaura Valley

Huaura *

Peru

“Huacho ?”

Huacho, Huaura Valley “Huacho ?”

“Supe, Huacho”

San Isidro de Sayán * Huaura Valley

Central Coast

Site

M

M

M

M

F

F M

F

F

F

F

M

F

F

M

F

M M

F

hidden (F) F

Sex

22.4

17.7

20.0

18.9

16.1

16.5 16.5

10.0

16.7

20.2

15.3

14.7

17.6

19.7

(18.0)

20.4

17.0 (20.6)

15.3

21.4

17.9

H (cm)

(10.0)

9.7

9.3

10.2

9.9

9.0 9.1

5.2

10.0

9.1

10.4

8.8

9.4

(10.0)

(9.0)

10.6

11.0 10.6

8.0

(14.2)

10.0

W (cm)

6.7

6.8

7.0

6.0

5.5

4.5

6.0

4.5

4.9

4.8

7.1

7.0

5.6

6.0 5.6

5.5

6.3

Th (cm)

Measurements

410

440

390

300

260

340

580

350

Wgt (gr.)

Pinky buff + red, brown

Buff + reddishbrown, cream

Buff + brown, cream

Buff + black, cream

Buff + black, cream

Cream + black, red Cream + black, red

Terracotta + brown, white, red "Red + white" Terracotta + white, dark red Terracotta + white, dark red Orange + white, dark red Orange + white, dark red Dark terracotta + white Terracotta + white, dark red Terracotta + white, dark red Terracotta + white, brown Orangey-buff + purple, white "Black, white, red"

Dark red + cream

Orange + white, red

Colour

F:M B: HM M

M

F:M B: HM M

M

M

M

M

M

M

M

M

M

M M

M

M

No

2 at upper arms 2 under feet

H H?

2 at shoulders

No

No

2 behind upper arms 2 at shoulders

2 at upper arms

2 at neck

2 under feet

2 under feet

2 under feet

No

No

2 behind upper arms

H

H?

H

H

H

H

H

H

H

H

H

H?

H?

H

H

2 at neck

Manufacture Air-holes

HM- S-H M

TABLE 14(2): HUAURA SUB-GROUP 2.1: STANDARD FIGURINES WITH FOLDED ARMS

See Source.

See Source. See Source.

See Source.

Front and back mold of different size

Couple Picos covered by textile

Published

Bjerregaard 2010:Fig.5

Probably Couple

Broken picos

Probably Couple

Broken picos

Wrapped in textile

Special Features

34

34

34

34

34

34 34

34

34

34

33

33

33

33

33

33

33 33

33

33

33

Plate

420

784

677

678

2409

P484

SAC 285 SAC 286 1813

693 SAC 467 SAC 464 SAC 368 SAC 272 1400

1222

1188

1945

613

611

1173

140

1939

1180

SAC 294 SAC 291 2408

No

Private Collection – DE MNAA 127 (3761) (no data) MNAA n/n (no data) MNAA 20/793 (no data available)

MAI 23/8970 (Gift Sackler) Katz 1983: no.158

AMNH 41.2.7304 (Gift F. Landman)

MAL 1818 (no data) SWMLA 491-P.3639 (Purchase Jesson) MVM G 504 (Gáffron Coll.) MVM G 1455 (Gáffron Coll.) PC1L (no data)

Private Collection – DE (no data) MVM G 3797 (Gáffron Coll.) SWMLA 491-P.3644 (Purchase Jesson) MRAHB AAM 46.7.199 (Grenade) MVM G 412 (Gáffron Coll.) MAL 3420

Source

Chincha

Huaura Valley

Huacho, Huaura Valley

Centinela *, Huacho, Huaura Valley

Huacho, Huaura Valley

Site

F

F

F

F

F

F M M

M M M n/i (F) F F

M

M

M

n/i (M) M

M

F

M

F

F M F

Sex

31.8

49.0

58.8

33.0

20.5

18.0 18.5 22.7

(19.8) 20.0 25.0 15.5 16.0 17.8

15.6

17.9

(13.7)

14.5

26.0

27.0

12.8

17.5

18.7

20.5 (21.0) 25.0

H (cm)

21.9

26.7

28.0

11.5

10.0 11.5 12.2

9.4 10.0 13.0 8.5 8.0 10.0

9.1

7.7

(6.8)

8.0

13.5

15.3

7.5

9.2

(8.8)

10.2 11.0

W (cm)

8.8

12.7

14.0

6.5 6.5 9.2

7.9 6.2 5.6 5.0 5.0 7.6

(5.0)

6.2

4.3

5.3

(8.0)

7.3

6.1

7.2

5.6

5.5 5.0

Th (cm)

Measurements

over 2000 over 1000

over 1000

750

400

Over 1000

190

550

Wgt (gr.)

Cream + Brown Pale grey + black, white, red Red + white Red +black, white Orange + white, dark red Orange + white, dark red “Dark brownish" + brown, white Orange + white, dark grey Terracotta + black, white Orange + brown, cream

Buff + black (fugitive?) Dark terracotta + traces of white Dark brown to black Pinky white White “Monochrome”

Buff + black

Buff + red

White + pale red

Buff + pale red

White + black, red? White + black ? White + purplyblack, red Buff + dark red, white Buff + black, red

Colour

HM

HM

HM

HM?

HM

HM

HM? M M M

M

M

M

F: M B:HM F:M B: HM M

M

F:M B: HM M

M

M M M

H

H

H

H

S

S

S

H

H

H?

H

H

S?

S

S?

H

H?

H?

H

2 behind upper arms 2 behind upper arms 2 behind upper arms

n/a

n/a

n/a

2 behind upper arms

2 at waist

2 behind upper arms No

2 at upper arms

No

n/a

No

2 at shoulders

No

No

Manufacture Air-holes

HM-M S-H

TABLE 14(3): HUAURA SUB-GROUP 2.1: STANDARD FIGURINES WITH FOLDED ARMS

.

Couple

Wrapped in textile (not fired ?) (no arms) Couple

Broken picos

Not fired ? Broken picos

Double face

Couple? Broken picos

Special Features

See Source

Published

36

36

36

35

35

35 35 35

35 35 35 35 35 35

35

35

35

35

35

34

34

34

34

34 34 34

Plate

421

1063 SAC 271 542

2181

MAL 3285 (no data)

AMNH 41.2.6786 (Gift F. Landman) PMH 46.77.30/6885 (Lothrop) MAAC 61.212 (Gift Simmonds) PC4L

1401

1701

Source

No

Huaura

Huari (sic)

Peru

Site

n/i F n/i

F

F

M

Sex

11.2 12.5 19.9

13.9

20.1

24.1

H (cm)

8.9 10.0 18.0

(8.0)

10.1

14.5

W (cm)

4.7 3.5 10.0

3.8

6.3

8.9

Th (cm)

Measurements

790

130

over 1000 620

Wgt (gr.) M+ HM M

S?

H

H

S

S

No

2 waist

2 waist

n/a

n/a

Manufacture Air-holes

HM-M S-H

Special Features

- ONE FOLDED, ONE EXTENDED

Red + black, M white Cream + black, red M Terracotta Cream + black, M+HM dark red

Buff + black, red

Buff + black, red

Colour

TABLE 15: HUAURA SUB-GROUP 2.2: STANDARD FIGURINES WITH TWO SETS OF ARMS

Lilien 1956: 233f, Table 16, Pl. XVI f (wrongly listed as 46.77.30/6855)

Published

36 36 36

36

36

36

Plate

422

605

606

P489

P488

586

566

2410

SAC 260 SAC 412 1070 SAC 468 SAC 471 778

SAC 261

Private Collection DE MAL 1649 (no data) MAL 1929 (no data) Lavalle + Lang 1982: 43R Lavalle + Lang 1982: 43L MAL 3311 (no data) MAL 3310 (no data)

SAC 300

PC5L (No data)

Centinela * Huacho, Huaura Valley Centinela * Huacho, Huaura Valley

Huacho, Huaura Valley Huacho *, Huaura Valley Santa Rosalia * Huaura Valley

F

M

F

M

F

F

M

F M (F) M M M

M

F

F M

SAC 201 1403

1402

M

SAC 200

F

F

M

(F)

(F)

F

Sex

F

Vilcashuaura * Huaura Valley Vilcashuaura * Huaura Valley

Site

SAC 404

SAC 301

609

610

1723

AMNH 41.2.6317 (Gift F. Landman) AMNH 41.2.6316 (Gift F. Landman)

MNAA 48122 (confiscated) MVM G 1457 (Gáffron coll.) PMH 46.77.30/6160 (Lothrop) MAL 1820 (no data) MAL 1819 (no data)

1018

1224

Source

No

14.9

16.1

50.0

51.0

40.0

29.5

46.0

30.0 31.5 32.0 36.0 29.2 46.0

32.0

29.0

13.0 30.5

14.0

18.8

17.5

20.0

23.9

11.8

11.3

15.7

H (cm)

9.9

(9.4)

31.0

31.0

29.6

19.7

18.5 19.5 20.0 23.0 14.0 24.2

21.5

19.5

9.3 (17.0)

7.5

(14.5)

10.0

12.9

12.8

8.3

10.8

11.8

W (cm)

5.6

6.3

10.2

8.2

8.0 9.0 11.0 11.0 8.0 11.9

8.0

3.5

6.0

5.0

6.0

7.5

9.6

7.4

8.3

7.1

Th (cm)

Measurements

370

400

Over 2000

960

over 1000

over 1000 over 1000

610

300

400

Wgt (gr.)

Cream + red

White + pale orange, grey Cream + brown, ocre Cream + brown, ocre Cream + red

Pink + traces of black, white Orange + white

Cream Pinky white + black, white, red Pale terracotta + black, white Red + black, white “Polychrome” Red + black, white Red + black, white White + ? White? Pinky buff + red

Terracotta + black, white Red + black, white Grey? + black, Yellowy-white Pale terracotta + white Pale terracotta + white Red + black, white Red + black, white Cream

Colour

HM

HM

HM

HM

HM? HM M? M+ HM

M

M+ HM M M

M

M+ HM M+ HM M

M

M+ HM M

H

H

H

H

H

H

S

S

S

S

H

H

H?

1 mouth 1 between legs 1 mouth 1 between legs

2 waist 1 between legs 2 waist

2 ears

2 above waist

n/a

n/a

n/a

n/a

2 behind arms

2 behind arms

No

Manufacture Air-holes

HM-M S-H

TABLE 16 (1): HUAURA SUB-GROUP 2.3: STANDARD FIGURINES WITH EXTENDED ARMS

Couple

Couple

(not fired ?) "sin cocción"

Couple

Couple

Folded arms! Couple

Couple (not fired ?)

Hunchback Sitting Hunchback

Special Features

See Source.

See Source.

See Source

Lilien 1956: 237f, Table 17, Pl. XVIp.

Published

39

39

38

38

38

40

38

37 38 38 38 38 38

37

37

37 37

37

37

37

37

37

37

37

37

Plate

423

1

Huacho

F

F

F

F

M

M F F M

(F)

(M)

F

M

34.0

39.0

35.2

39.8

42.0

49.9 48.5 32.0 36.0

22.6

(14.5)

43.0

46.0

(16.0)

29.5

28.0

32.0

27.0

30.2

(cm)

19.7

22.0

24.3

24.0

24.4

33.0 31.5 24.0 21.9

(10.6)

(12.5)

18.7

21.0

(11.0)

15.5

16.0

17.0

14.4

14.0

(cm)

9.6

11.2

10.0

10.0

11.0 11.5 12.5 9.8

5.9

(8.0)

12.7

12.2

5.0

5.0

6.0

8.0

7.3

(cm)

Over 1000

Over 1000 Over 1000

Over 1000

Over 2000 Over 2000

720

(gr.)

Terracotta + dark red, light red, white Pink- buff + black, white, pale orange Pink- buff + black, white, pale orange Cream + red, black Orange + brown, white Buff

White + black, red

Red + black, cream

Terracotta + brown, cream Terracotta + brown, cream Terracotta + brown, cream Terracotta + brown, cream Terracotta + dark red, white Cream + black, orange Pinky-cream + brown, red Pinky-cream + brown, red Cream + brown

Included in sg. 2.3, because of the similarity of its face-paint with other specimens in this sub-group.

1298

MVV 91006 (Wickenburg coll.)

MNAA 54641 (confiscated) PC6L (no data)

1087

2273

PC2NY (no data)

MNAA 54689 (confiscated) PC2NY (no data)

1904

1905

SAC 449 SAC 448 SAC 413 798

548

546

579

580

(M)

Huacan * Huaura Valley Vilcashuaura * Huaura Valley Vilcashuaura * Huaura Valley Centinela* Huacho, Huaura Valley Huacan*, Huaura V.

1105

MAL 1816 (no data) MAL 1931 (no data) MAL 3376 (no data) MAL 3930 (no data MAL 1640 (no data)

M

M

F

M

SAC 097

Huacho * Huaura Valley Huacho * Huaura Valley F

MAL 3374 (no data) MAL 3373 (no data)

SAC 248

SAC 249

607

608

HM

HM

HM

HM?

HM?

HM?

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

H

H

H

H?

H?

H?

H

H

H

H

H

H

H

2 ears 1 mouth

2 above waist

2 above waist

No

No

No

3 through picos, others? 2 waist

2 above waist

2 ears 2 waist 2 above waist

2 ears; 1 between legs; 2 under feet 2 ears; 1 between legs; 2 under feet

TABLE 16 (2): HUAURA SUB-GROUP 2.3: STANDARD FIGURINES WITH EXTENDED ARMS No Source Site Sex Measurements Colour Manufacture H W Th Wgt HM-M S-H Air-holes

4 picos headdress Couple

Couple

Head fragment 1

Couple

Couple

Couple

Special Features

Published

40

40

40

40

40

40 40 40 40

39

39

39

39

39

39

39

39

39

39

Plate

424

PC3L (no data)

LACM L.2100 A13 63-458 (no data)

851

1925

SAC 433

877

2201

2407

1044

859

1186

MVM G 508 (Gáffron collection) MNCP P.9619 (MNAA excavation) MNAA P.5993 (MNAA excavation) P-RM0 – Forbes Collection 682 LMS 52822 (Gift Sutorius) MNCP P.6490 (MNAA excavation)

SAC 443 352 EMB VA 39074 (van den .Zypen) 1285 PC1M (no data)

Source

No

Ancón 1-T.463 ***

Chancay

Ancón

Ancón 1- T.? **

Ancón 1- T.718***

Pachacamac

Site

F

F

F

F

n/i

F

13.0

11.1

13.3

16.5

14.0

13.9

10.2

15.7

F

F

16.0 11.7

16.2

30.8

H (cm)

n/i F

F?

n/i

Sex

7.5

(5.3)

8.0

7.5

6.4

6.5

4.1

7.0

7.0 4.9

5.8

12.2

W (cm)

2.5

4.3

7.3

6.0

5.6

6.3

4.0

5.7

6.0 4.6

5.9

11.0

Th (cm)

Measurements

200

310

100

380

110

over 1000 290

Wgt (gr.)

TABLE 17: HUAURA GROUP 3: FIGURINES WITH ELONGATED HEAD

Dark red + traces of white Terracotta + white, black "monochromo"

Red + white

Buff

“Polychrome” Cream + black, white, red Terracotta + black, white Terracotta + black, white Grey-black

Orange + black, white Orange + black, white

Colour

M

M

M?

M

M

M

M

M

M

M

H

H

H

H

H

H

H

H

H

H

2 behind upper arms 2 above waist

1 upper back

2 temples

2 above waist

2 neck

2 neck

2 neck

2 behind upper arms 2 behind upper arms

Manufacture Air-holes

HM-M S-H

41

41

Gravelot (with 878/Huaura Gr.4 ?) Left arm broken

41

41

41

41

41

41 41

41

41

Plate

41

Published

Double face

Sitting Gravelot 2 pairs of folded arms

Sitting

Special Features

425

SAC252 SAC253 SAC250 SAC251 2272 PC6L P493 Sawyer 1975:Fig.193 P494 Sawyer 1975:Fig.192 2311 PC6L

569

1191

878

691 162

P492

P491

2310

C143

Huacho Huaura Valley Lauri, * Chancay V.

Haracha (site not located) Ancón 1-T. 463?

Hacienda Primavera * Huaura Valley “Supe, Huacho?”

Lambayeque º º

Huarmey

Site

M F M F F M F F

F

F

F

n/i M

F

M

F

F

F

n/i

n/i

F

n/i n/i

n/i

Sex

15.5 12.5 22.0 18.5 26.0 17.8 16.2 3 9.0

20.0

18.8

13.2

14.4 12.1

20.2

22.5

10.0

12.1

15.0

8.0

9.4

30.0

17.0

17.5

H (cm)

10.0 10.0 10.0 10.5 13.0 11.4 11.4 7.5

10.6

10.3

8.4

8.3 7.5

12.5

12.5

7.0

6.2

8.7

5.5

5.4

18.1

11.8

12.0

W (cm)

4.1 3.2

2.0 2.0 2.0 2.0

4.6

5.1

3.5

3.5 3.4

(1.0)

3.8

2.8

2.3

3.2

4.3

3.0

1

Th (cm)

Measurements

630

560

220

190

270

50

100

500

370

Wgt (gr.)

Terracotta + black, white, red Terracotta + red, cream Black, white, red Black, white, red “Polychrome” Black, white, red Red, cream, brown Red on cream Red on cream Terracotta + black, grey, cream

Terracotta + black?

Terracotta + brown, cream Cream + ochre, brown Cream + ochre, brown Pale terracotta Terracotta + cream

White + black, orange, brown Purple, black, cream, Dark red + black, white, red dark grey + white Red, black, white, Red + black, cream

Orange + black, red, cream

Colour

HM HM HM HM HM HM HM HM

HM

M

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM HM

HM

S S S S S S S S

S

H?

S

S

S

S

S

S

S

S

S

S

S S

S

n/a n/a n/a n/a n/a n/a n/a n/a (2 through chest)

n/a

No

n/a

n/a

n/a

n/a (2 through chest) n/a

n/a (2 through chest) n/a (2 through chest) n/a (2 through chest) n/a (2 from side to side at waist) n/a (2 through chest)

n/a (2 through chest) n/a n/a

Manufacture Air-holes

HM-M S-H

Couple

Couple

Couple

Gravelot with 877/Huaura Gr.3?

Couple

Special Features

2

Thickness of body only – does not take into account nose or feet. The figurine itself bears no number, but looks exactly like P.6485 in the Ancón Inventario of A1-T. 463, though the measurements are different. 3 The height of P494, wrongly given as 11.9 cm, has been calculated by comparison with P493.

1

MVM G 714 (Gáffron Collection) Cornell University, Dept. of Anthropology 986.1.48 (Gift Frank) PC6L

1206

553

1846

Lavalle and Lang 1982:49, right Lavalle and Lang 1982:49, left PC1L MVN 13.141:7 (Gift Einfeld) MNCP n/n (P.6485?) 2 MVM G 502 (Gáffron Collection) MAL 3380 (no data)

Bird 1962: Fig.51B HMB 16-12023 (Mrs. W. Kelly) Collection Bernard, Ramatuelle (no data) MAI 20/3458 (Purchase) MAL 1698

P490 2047

1336

PC1L

Source

692

No

TABLE 18 (1): HUAURA GROUP 4: FLAT, SOLID FIGURINES (“SLABS”)

See Source See Source

See Source.

See Source.

See Source.

Ichiki 2012: Fig.2a

Published

43 43 43 43 43 43 43 43

43

42

42

42 42

43

43

42

42

42

42

42

42

42 42

42

Plate

426

Source

SAC 245

PC1NY

PC6L

2103

2319

Associated

557

137

PC6L PC6L HMB 16/17325 (data not recorded) MRAHB AAM 46.7.196 (Grenade) MAL 1665 (no data)

2260 2261 2038

Atypical

765

No

Huacho, Huaura Valley Lauri, Chancay V. *

Valley of Lima

Site

F

F

F

F?

M F F

F

Sex

14.5

18.9

7.2

16.3

20.8 21.5 13.2

33.0

H (cm)

8.5

11.7

4.2

10.4

14.5 15.0 7.3

24.8

W (cm)

3.0

1.8

4.2

3.7

6.4

Th (cm)

Measurements

280

300

over 1000

Wgt (gr.)

TABLE 18(2): HUAURA GROUP 4: FLAT, SOLID FIGURINES (“SLABS”)

Brown + resinous black, red. Dark orange slip?

Terracotta + cream Terracotta + cream Black, white on orange Dark terracotta + brown, white Cream + red

Pinky-cream + purply brown, red

Colour

HM?

HM

HM

HM

HM HM HM

HM

S

S

S

H

S S S

S

n/a (2 through chest)

n/a

n/a (2 through chest)

n/a n/a n/a (2 through chest) 2 waist

n/a

Manufacture Air-holes

HM-M S-H

Couple

Special Features

Published

43

43

43

43

43 43 43

43

Plate

427

Source

Site

Sex H (cm)

W (cm)

MVV 68.610 (S/S “Donau”) MHP 78.2.740 (Gift Wiener) SWMLA 491-G-2046 (General Mc C. Reeve)

1316

o

Ancón **

Hda Humaya * Huaura Valley Cerro Campanario * Huarmey La Huaca, Huaral * Chancay Valley

Chancay

Ancón

Chancay *

Vicinity of Lima *

Pachacamac

Ancón 1 T. 405 *** Coast of Peru

Litoral Norte

Sayán, Huaura V.*

Sayán, Huaura V.*

n/i

F

F

F

n/i

F

M?

F

missing

F

F

M? F? F? F

M?

M?

14.9

17.1

16.8

5.4

3.8

10.5

13.7

11.8

(7.9)

14.9

13.4

16.3 14.5 13.9 14.9

16.3

16.7

8.9

12.8

13.0

3.4

2.6

(5.5)

8.8

7.2

4.6

12.8

10.2

(7.8) 6.7 6.0 9.4

10.2

10.8

153

564

1902 1296 98

1821

242

MRAHB AAM 5439 (No data)

EMB VA 6403 (Reiss and Stübel) MAI 14/7700 (R. P. Conklin coll.) PC2NY PC1M MHP 78.2.110 (Gift Wiener) MAL 1709

Lauri *, Chancay Valley

Ancón

Ancón

F

n/i

n/i F n/i

n/i

n/i

[12.9]

10.4

(6.0) 12.3 [11.0]

8.0

7.1

5.3

4.7

3.3 8.2 (4.0)

3.5

3.5

1.5

4.7

5.9

4.4

3.2

4.1

5.5

5.3 4.3 3.2 4.1

5.8

6.3

ca 5.3

3.3

4.4

2.1

1.6

1.6

5.0

6.5

6.1

(1.8)

Group 2: Miscellaneous Late MH-Early LIP Unaffiliated Figurines

1943

64

MAL 2819

PMH 46.77.30/6370 (Lothrop) PMH 46.77.30/6371 (Lothrop) MNAA 1/4406 MNAA n/n MCP A1/P.5685 MAI 6/5873 (Gift Hendricks) MHP 32.108.51 (Gift Ber) EMB VA 19419 (Baessler) EMB VA 27975 (van den Zypen) PMH 75959 Gift Barbour 1909 MHP 87.131.4 (Gift Chereau) PMH 46.77.30/6159 (Lothrop) MAL 1700

559

556

1724

90

1647

501

504

87

1054 1051 876 1801

1711

1710

Th (cm)

Measurements

Group 1: Unaffiliated Figurines Related to Supe or Huaura

No

290

470

550

150

350

300

310 260 130 300

300

320

Wgt (gr.)

Black slip on buff paste Pale terracotta. traces of slip

Thin cream slip on pale terracotta Terracotta + white ? Buff Dark brown

Terracotta

Traces of orange slip Terracotta + traces of white Terracotta + white

Greyish buff

Terracotta + traces of white Terracotta + traces of white Terracotta + traces of white Pale orange

Black

Brown

Red

Pale red + white (front only) Pale red + white (front only) Dark red + white Terracotta + bl., wh. Terracotta + bl., wh. Dark Brown

Colour

HM?

HM?

HM HM HM

HM

HM

M

M

M

1 frontal M only HM

M

M

M

M

M

M

M M M M

M

M

H

H

S S S

S

S

H

H

H

S

S

H

H

H

H

H

H

H H H H

H

H

2 behind upper arms

2 neck

n/a

n/a

n/a

n/a

2 behind upper arms 1 behind right upper arm 1 middle of back

2 at sides (shoulder level) 2 at sides (upper arms level) n/a (2 lateral perforations) n/a

anus

2 behind upper arms 2 behind upper arms 2 behind upper arms 2 behind upper arms 2 behind upper arms 2 behind upper arms 2 behind upper arms 2 behind upper arms 2 waist

Manufacture Air-holes

HM-M S-H

Hunchback

Gravelot

Special back (see Plate )

Base broken off

Gravelot Special back (see Plate )

near identical

Special Features

Published

Wiener 1880: 652 [1993: 694]

Reiss and Stübel 1880-1887:III, Taf.91, fig.11; Kaulicke 1983: Abb.64,11; Haas 1986: no.106

TABLE 19: LATE MH-EARLY LIP UNAFFILIATED FIGURINES RELATED TO THE SUPE, HUAURA AND MISCELLANEOUS FIGURINES

45

45

45 45 45

45

45

45

45

45

45

45

45

44

44

44

44

44

44 44 44 44

44

44

Plate

428

EMB VA 6414 (Reiss and Stübel) Inventario vol. XII, p.?

231

406

1513

103

143

1320

138

1134

1015

409

1512

1462

P.7276

EMB VA 39063 (van den Zypen)

UPMP 34064 (Uhle 3514) UPMP 33358 (Uhle 3358) EMB VA 27964 (van den Zypen) MNAA 47702 (confiscated) BCM A 197-1982 (Auction) MRAHB AAM 46.7.197 (Grenade/Melendez) MVV 19.748 (Purchase W. Trautman) MRAHB AAM 46.7.202 (Grenade/Melendez) MVBa IVc 22280 (no data) UPMP n/n

MAL 1676

541

675

2243

Source

MNAA P.11299 (Ancón excavations) MNAA 195 (No data) PC6L

1075

No

Pachacamac

Chanchan º º

Huacho, Huaura Valley Isabella Island º º

Pasamayo * Chancay Valley Marquez *, Chillón (North Huaca) Chancay

Ancón 1 T.532 ***

Lauri * Chancay Valley Ancón **

Ancón 1 T.962 ***

Site

F

F

F

F

F

F

F

F

F

F

F

F

F

F

F

F

Sex

11.0

10.7

11.1

13.4

20.0

13.4

16.5

18.3

13.3

11.5

(12.6)

14.0

10.5

(16.7)

49.0

36.6

24.3

H (cm)

6.6

5.6

5.7

7.3

10.8

6.8

7.9

9.3

7.6

5.2

(7.8)

6.0

(8.8)

20.5

16.0

12.7

W (cm)

3.0

3.2

5.1

5.6

6.2

3.9

5.6

7.4

4.9

2.8

5.0

3.9

(9.0)

12.0

6.6

Th (cm)

Measurements

80

100

180

270

550

180

340

600

240

140

170

over 1000

680

Wgt (g)

Red + black, white Terracotta + black, dark red Terracotta + black, white Red + black, white Dark red + black, white, Dark red + black, white,

Red + black, white Terracotta + black, white Red + black, cream Pale terracotta + black, white Terracotta +dark red, white Red + black, white Red + black, white Terracotta + black, white Terracotta + brown, white Pale terracotta + dark red, white (surface eroded)

Colour

M

M

M

M

M

M

M

M

M

M

M

M

M

M

M

M

H

H

H

H

H

H

H

H

H

H

H

S

H

H

H

H

2 at shoulders

1 at back (left side) 2 behind upper arms 2 behind upper arms 2 behind upper arms 2 behind upper arms 2 behind upper arms 2 at shoulders

2 above waist

2 above waist

2 above waist

n/a

2 at ears, 2 at waist 1 at vulva

2 behind upper arms 2 at waist

Manufacture Air-holes

HM-M S-H

Gravelot

Head Fragment

Gravelot

Special Features

Lilien 1956: 186f, Table 12, Pl. XIV g

Lilien 1956: 186f, Table 12, Pl. XIV f

Haas 1986:no. 120

Published

TABLE 20: CHANCAY SUB-GROUP 1.1.1: EARLY CUCHIMILCOS WITH FOLDED ARMS – RED BASE 3-COLOUR GEOMETRIC AND RELATED WARES

46

46

46

46

46

46

46

46

46

46

46

46

46

46

46

46

46

Plate

429

PC4L (no data)

AMNH B 4004 (Bandelier) BCM A 198-1982 (Wellcome; auction) MVM G 712 (Gáffron coll.) MVM G 713 (Gáffron coll.) MVM G 1452 (Gáffron coll.) EMB VA 18690 (Baessler coll.) MNAA 54625 (confiscated)

1062

1061

1349

MNAA 54264 (confiscated) Private Collection – DE (no data)

1079

P496

2411

Lavalle and Lang 1982: 71

Atypical

82

MVM G 416 (Gáffron coll.) MHP 64.86.102 (D’Harcourt)

1179

799

491

1221

1207

1208

1136

PC4L (no data)

2269

Source

MNAA 54218 (confiscated) PC6L (no data)

794

No

Chancay *

Chancay *

“Supe, Huacho”

S. Isidro de Sayán * Huaura Valley

Site

F

F

F

F

F

F

F

n/i

F

F

F

F

F

F

F

F

Sex

50.0

60.0

16.8

15.0

13.3

18.0

14.3

12.6

10.5

12.7

17.2

21.0

17.5

16.7

39.0

34.2

H (cm)

23.0

27.4

11.4

5.6

5.8

7.6

8.0

7.6

6.3

7.4

9.9

11.0

7.2

8.0

17.0

15.3

W (cm)

14.0

5.7

4.1

6.5

4.4

4.8

3.3

4.8

6.6

6.8

5.7

6.3

9.8

Th (cm)

Measurements

310

180

410

180

200

120

160

550

620

over 1000

Wgt (gr.)

White + black, red “Brown, greyish-mauve, red" [on white] “Ochre, brown on cream”

White + black, dark red White + black, red

White + black, red Cream + brown, red White + black, red Cream + black, reddish brown White + black, purple Pinky-white + black, dark red Pinky-white + black, red White + black, red White + black, red White + black, red White + black, red

Colour

M

M

M

M

M

M

M

M

M

M

M

M

M

M

H

H

H

H

H

H

H

H

H

H

H

H

H

H

2 at waist

2 behind upper arms

2 nose 2 behind upper arms 2 at waist

2 at waist

2 at waist

2 at waist

2 at shoulders

2 behind upper arms 2 at shoulders

2 behind upper arms 2 above waist

2 behind upper arms 2 at waist

Manufacture Air-holes

HM-M S-H

Hunchback Sitting Separate arms attached to sides No arms

Special Features

See Source

Lilien 1956:230ff, Table 16, Pl.XVIa

Rostworowski 1973: photo 4

Published

TABLE 21: CHANCAY SUB-GROUP 1.1.2: EARLY CUCHIMILCOS WITH FOLDED ARMS – WHITE BASE 3-COLOUR GEOMETRIC AND RELATED WARES

47

47

47

47

47

47

47

47

47

47

47

47

47

47

47

47

Plate

430

1

Source

AMNH B 6049 (Bandelier)

MHP 84.3.8 (Société de Géographie) EMB VA 3882 (Macedo coll.) MRHAB AAM 46.7.203 (Grenade/Melendez) UPMP 34143 (Uhle 1358, purchase) MVM G 509 (Gáffron coll.) MRHAB AAM 46.7.214 (Grenade/Melendez) MVH 49.2:44 (Dr. W. Timing)

PC6L (no data) PC6L (no data) PMH 46.77.20/6310 (Lothrop)

2247 2248 1678

Site not located

AMNH B 4040 (Bandelier)

1781

SAC 179 438 EMB VA 48883 (van.den Zypen)

Atypical

SAC 218

1363

196

48

1218

1540

144

382

59

2262 PC6L SAC 257 P497 Brizzi, B. 1976: no.169 870 MCP P.6630 (Ancón excavations)

No

Vilcoshuaura * Huaura Valley

Chavarillo1 * Chancay Valley San Isidro de Sayán * Huaura Valley

Coast of Peru

Chimbote º º

Huacho, Huaura Valley Huacho, Huaura Valley

Quintay *, Huacho

Huacho, Huaura Valley

“Ancón?”

Ancón

Ancón 1 , T.473 ***

Site

F F F

F

F

F

n/i

F

F

F

F

F

F

F

F F F F

Sex

20.5 21.0 26.6

15.0

11.5 11.2

16.0

14.4

11.1

11.7

9.0

14.7

19.8

11.9

7.9

16.5

50.0 21.0

H (cm)

10.5 10.5 13.4

10.9

6.5 5.6

6.5

8.8

6.9

7.4

4.2

7.8

8.7

6.9

3.5

7.8

20.0 9.5

W (cm)

5.1

14.4

6.0

3.0

4.7

4.2

4.8

3.1

5.2

6.5

3.4

2.8

6.3

6.5

Th (cm)

Measurements

570

210

240

110

180

70

225

500

150

50

400

Wgt (gr.)

Black on white Black on white Yellowy-white + pale grey

Traces of black on white

Black on white Traces of white, black?

Black on white

Black on white

Black on white

Black on white

Black on white (dirty) Black on white

Yellowy-white + brown Yellowy-white + brown Buff + brown

Yellow + brown Black on white White + red Yellow + black

Colour

HM? HM? M

M

M

M

M

M

M

M

M

M

M

M

M M

H H H

H

S

H

H

H

H

H

H

H

H

H

H

Sitting Hunchback?

Published

Lilien 1956: 237ff, Table 17, Plate XVI n,o

Lilien 1956:232, Table 16, Plate XVI, e

Lilien 1956:231, Table 16, Plate XVI, b, c

See Source Positive Mold ? Gravelot- Associated with 871/sg. 1.2.4

Special Features

Hunchback, sitting; left leg broken 2 behind upper arms Pair of similar 2 behind upper arms figurines 2 at ears 2 above waist

2 behind upper arms

n/a

2 behind upper arms 2 under feet 2 behind upper arms

2 behind upper arms 2 above waist

2 at waist

2 at waist 1 at anus 2 above waist

2 at shoulders

2 above waist

1 above waist, left

Manufacture Air-holes

HM-M S-H

TABLE 22: CHANCAY SUB-GROUP 1.1.3: EARLY CUCHIMILCOS WITH FOLDED ARMS - BLACK-ON-WHITE WARE

48 48 48

48

48 48

48

48

48

48

48

48

48

48

48

48 48 48 48

Plate

431

1

MCP P.8128 (Ancón excavations) MCP P.8149 (Ancón excavations) MCP P.9655 (Ancón excavations) EMB VA 18683 (Baessler)

EMB VA 38515 (van den Zypen)

MRI DA-14 (Gift) MVM G 233 (Gáffron coll.) MVM G 1448 (Gáffron coll.) MRHAB AAM 5457 (No data)

863

C144a

708

MVH 13.141:22 (Einfeld collection)

Chimbote º º

Chancay

Chincha *

H. El Palmo, Marquez * Chillón Valley Andahuasi ** Huaura Valley Near Lima

Chancay *

Ancón 1 , T. 721 ***

Ancón 1 , T. 619 ***

Ancón 1 , T. 618 ***

Site

Workbasket listed in Appendix 3/Gravelots

170

Atypical

SAC 262 SAC 259 2199 LMS 52813 (Sutorius collection)

150

1227

1253

SAC 258 1344 AMNH B 8189 (Gáffron collection) 1148 BCM 245’58(b)

379

862

866

Source

No

F

F n/i F

F

F

F

F

15.7

13.0 19.0 (17.0)

13.2

17.6

14.8

16.7

15.0

11.4

F F

19.0 17.0

17.4

16.5

16.5

14.8

H (cm)

F F

F

F

F

F

Sex

8.2

7.0 11.0 (8.6)

6.5

10.9

8.3

10.5

(6.5)

9.0 7.8

8.8

8.5

8.4

8.3

W (cm)

7.0

4.5 5.5 5.4

5.2

6.5

4.8

4.0

4.2

5.0 6.8

6.4

5.0

6.7

5.0

Th (cm)

Measurements

350

490

290

420

160

350

460

380

Wgt (gr.)

Grey-black with traces of white ? (dirty)

White + red White + red Red

Terracotta + black Terracotta + black Terracotta + black Pale red

White + reddishbrown

White + red (traces) Terracotta + white Traces of white slip? Traces of cream slip White + red Orange + white

Colour

M

M M M

M

M

M

M

M

M

M

M

M

M

H

H?

H

H

H

S

H

H

H

H

H?

H

2 behind upper arms

No

2 behind upper arms 2 behind upper arms 2 at neck

n/a

2 behind upper arms 2 at ears? 2 at waist

2 at neck

2 behind upper arms 2 behind upper arms

2 behind upper arms No

Manufacture Air-holes

HM-M S-H

Hunchback

Restored?

Published

Bethlen [1986]: Workbasket no.10

Lilien 1956:230, Table 16, Plate XVI d

Ravines 1981: 142-144

From workbasket 1 , associated with C144b/sg.1.2.4 C144c/ Gr.5

Gravelot

Gravelot

Gravelot

Gravelot

Special Features

TABLE 23 : CHANCAY SUB-GROUP 1.1.4: EARLY CUCHIMILCOS WITH FOLDED ARMS - MISCELLANEOUS WARES

49

49 49 49

49

49

49

49

49

49

49 49

49

49

49

49

Plate

432

Site

Sex H (cm)

Ancón **

Ancón 1, T. 334? ** 1

EMB VA 6400 Ancón ** (Reiss and Stübel) EMB VA 6398 Ancón ** (Reiss and Stübel) AMNH B 8968 Huando * (Gáffron collection) Chancay Valley FMC 169444 Maranga ***(Aramburu) (Kroeber 1588/1246) Mound 15 - Upper levels EMB VA 48706 Huarmey or Marquez ? 3 (van den Zypen) MNAA MT/3598 Macatambo ** (MNAA excavations) Rimac Valley PC2L Cerro Mulerías ** Rimac Valley MAI 5/1752 Cuzco º º (Th. G. Sullivan coll.) Centro Ligure Cat. IV, p.140, no.12

MNAA P.4681 (Ancón excavations) EMB VA 6397 (Reiss and Stübel)

P501

P500

P499

1312

394

MVB VA 3307 (Gift Gramatzki ) MVM 68607 (No data) Centro Ligure Cat.IV, p.140, no.13 Centro Ligure Cat.IV, p.140, no.14 Centro Ligure Cat.IV, p.140, no.15

“Chancay ?”

Sub-group 1.2.3: Black-on-white

P498

1810

820

1026

378

1580

1350

342

341

225

661

F

F

F

F

F

F

F

F

15.0

16.0

21.5

14.2

21.8

16.0

16.6

20.8

19.8

15.0

F F

14.4

20.3

14.0

12.0

14.5

13.9

F

F

F

F

F

F

(8.0)

16.9

(6.9)

14.4

15.0

(8.6)

(8.5)

(11.5)

9.1

(8.9)

10.8

10.7

W (cm)

(4.2)

5.6

4.9

5.0

7.7

3.9

3.9

5.7

4.1

3.4

3.7

4.2

Th (cm)

Measurements

570

630

490

230

Wgt (gr.)

Black on white

Black on white

Black on white

Black on white

Black on white

White + purpely black, red White + purpely black, red White + black, red White + black, dark red White + black, red White + black, red White + black, red White + black, red Yellowy white + brown, dark red

White + brown, red Buff+ brown, red

Colour

M

M

M

M

M

M

M

M

M

M

M

M

M

M

M

M

H

H

H

H

H

H

2

S

H

H

H

H

H

H

S

H

H

2 at waist

2 below waist

2 below waist

2 below waist

2 above waist

2 at waist

n/a

2 at waist

2 above waist

2 at waist

2 at waist

2 above waist

n/a (2 at waist from side to side) 2 waist

2 at waist

2 at waist

Manufacture Air-holes

HM-M S-H

A1.T334 is clearly written on the figurine, but the figurine is not listed in the Inventario for that grave Wrongly listed as B 8969 3 “Huarmey” is written on the figurine, “Marquez” appears on the catalogue card.

1

Source

Sub-group 1.2.1: Red base 3-colour geometric: No figurines Sub-group 1.2.2: White base 3-colour geometric and related

No

Extended arms broken Left arm broken Left arm broken Extended arms broken

Published

See Source

See Source

See Source

50

50

50

50

50

50

50

50

50

50

50

50

Lilien 1956:233, Table 16, Pl. XVI g 2 Lilien 1956:233, Table 16

50

50

50

50

Plate

Haas 1986:no.116

Reiss and Stübel 1880-1887:vol.III, Plate 91, fig.3; Strong 1925: Fig.1; Kaulicke 1983: Abb.64.3; Haas 1986: no.115 Haas 1986:no.117

Extended arms broken Hunchback; See Source Ext. arms broken

Right arm broken Right arm broken Right arm broken Hunchback

Right arm broken

Special Features

TABLE 24 (1) : CHANCAY SUB-GROUPS 1.2.1 TO 1.2.4: EARLY CUCHIMILCOS WITH TWO SETS OF ARMS - VARIOUS WARES

433

1

Source

Site

MVM G 219 (Gáffron)

1238

Maranga, *** Huaca III Grave CLXIV Ancón **

"Near Lima"

Ancón 1 T.473 ***

Pachacamac

Marquez, Chillón V.

“Ancón?”

Ancón *

Ancón *

Ancón *

Ancón **

Ancón 1 T.852 ***

Workbaskets listed in Appendix 3/Gravelots

340

Jijón y Caamaño 1949: Fig.63a, b EMB VA 6394 (Reiss and Stübel)

MCP P.6624 (Ancón excavations) EMB VA 38514 (probably van den Zypen)

P595

C 144b

871

Atypical

881

1131

164

1828

C 145a

MAI 16/260 (E. P. Lott collection) MVH 21.88:1 (A. von Döhren) MM 0.1272 (R.D.Darbishire) MArtL 60.5.2320 (No data)

EMB VA 3877 (Macedo) EMB VA 36029 (van den Zypen?)

387

1329

1782

1353

243

Inventario, vol. IX or X?:5-7 EMB VA 6416 (Reiss and Stübel) AMNH B 5443 (Bandelier) AMNH B 5442 (Bandelier) MVV 5876 (Purchase Umlauf)

P.11055

Sub-group 1.2.4: Miscellaneous wares

No

F

F

F

F

n/i

n/i

F

F

F

F

F

F

F

Sex

37.0

22.0

10.5

11.4

9.0

17.1

18.3

(13.6)

20.5

10.9

22.0

14.5

17.5

12.0

15.5

H (cm)

20.6

(9.4)

(8.5)

6.0

10.3

(9.1)

(7.2)

(6.4)

(14.5)

8.8

11.1

(6.4)

6.2

W (cm)

10.3

9.4

7.3

2.5

5.0

4.9

4.8

3.5

4.5

5.5

3.4

D (cm)

Measurements

3100!

70

330

270

Wgt (gr.)

Buff

White slip + traces of red

Terracotta

Terracotta (dirty) Terracotta?

Front: brown (dirty) Terracotta + cream slip Terracotta + cream slip? Brown + white + brown?

Terracotta + cream slip?

Brown

M

M

M

M

M

M

M

M

M

M

M

M

S?

S

H

H

H

H

H

H

H

H

H

H

H

S

2 at ears

n/a

2 at waist

2 at ears

2 at waist

2 at waist

2 at waist

2 at waist

2 below waist

2 at waist

2 at waist

2 below waist

2 at waist

n/a

Manufacture Air-holes

HM-M S-H

Brown + traces F:M of cream slip B:HM? Terracotta + white M slip? Brown + white M

Terracotta

Colour

Published

Hunchback; Gravelot with 870/Chancay 1.1.3; Right arm broken – left arm partly broken Hunchback from Bethlen [1986] : Workbasket no. 10 Workbasket 1 associated with C 144a /sg. 1.1.4 and C 144c /Gr. 5 Hunchback; See Source; left extended arm broken Lilien 1956: 237ff, Table 17. Hunchback; Reiss and Stübel 1880-1887:vol. III, Pl.91, Right arm partly, fig.7,8; Lilien 1956: 234ff, Table 17; left arm broken Kaulicke 1983: Abb.64.7,8; Haas 1986: no.114

Bethlen [1986]: Workbasket no. 23 (EMB VA 36028)

Inca-Peru (1990): no.212

Lilien 1956: 233, Table 16, Pl. XVI h

Lilien 1956: 233, Table 16, Pl. XVI i

Haas 1986: no.118

From a workbasket 1, associated with C145b/ LIP unaffiliated; Left arm broken Extended arms broken Left arm broken

Attached to cane litter Extended arms partly broken Right arm broken

Gravelot with P. 11053/ sg. 6.3 Extended arms partly broken

Special Features

TABLE 24(2): CHANCAY SUB-GROUPS 1.2.1 TO 1.2.4: EARLY CUCHIMILCOS WITH TWO SETS OF ARMS - VARIOUS WARES

51

51

-

51

51

51

51

51

51

51

51

51

51

51

51

51

Plate

434

Source

Site

Sex H (cm)

W (cm)

Lapiner 1976: Pl.658 (left) MHP 87.114.86 (Gift Le Moyne) PC6L

SJW 147995 (Tryon collection) Cruzado 2008: Invent. No. CE-07 PMH 46.77.30/6379 (Lothrop) BMNY X492 (No data) MAL 3363

P502

1448

“Supe, Huacho”

Chincha *

F

F

F

20.5

24.0

36.0

(13.5)

(12.2)

15.0

MHP 78.13.35 (Gift M. Quesnel) MNAA 55388 (confiscated) AMNH 41.0.426 Gift A.D. Juilliard, 1914 BM ST 333K (Christy Collection) MVBa IV c 8269 (No data) UPMP 33567 (Uhle 3404, Purchase) MNAA 46430 (confiscated) MAL 2958

100

594

1019

1536

527

53

2157

1016

PC6L

2249

598

1892

1749

P486

2264

77

Huaca Paraiso * Chillón Valley

Chancay

Lauri * Chancay Valley

Lachay * between Chancay and Huaura V.

Ancón

Chancay

F

F

F

F

F

F

F

F

F

F

F

F

F

F

F

F

F

18.3

19.3

15.0

21.2

29.2

20.5

25.9

25.0

23.4

24.0

(38.0)

(37.0)

39.8

52.0

41.5

65.0

12.0

(10.8)

11.7

13.6

19.6

14.7

(16.0)

18.8

16.8

17.9

(19.0)

(14.5)

21.0

32.0

(20.0)

Sub-group 1.3.2: White base 3-colour geometric and related wares

MVM G 707 (Gáffron collection)

MNAA 20/794 (see Discussion) PC1M

1213

1281

674

6.0

6.8

3.8

7.0

7.0

7.0

8.4

7.5

10.8

8.5

12.0

14.0

6.2

12.0

Th (cm)

Measurements

Sub-group 1.3.1: Red base 3-colour geometric and related wares

No

480

900

830

over 1000

Wgt (g)

Yellow-white + brown, red White + black, (red?) White + black, red White + black, red Pink-buff + black, red

White + dark brown, red Yellow-white + dark brown, red Yellow-white + dark brown, red White + black, red White + black, dark red Yellow-white + brown, purple White + black, dark red Pink-buff + black, brown Yellow-white + black, dark red White + black, dark red White + black, dark red White + black, red

Orange + brown, white Orange + black, white Dark terracotta + black, cream

Colour

M

M

M

M

M

M

M

M

M

M

M

M+ HM M+ HM M+ HM M+HM ? M

M

M+ HM M

H

H

H

H

H

H

H

H

H

H

H

H

H

H

H

H

H

H

H

2 behind upper arms 2 at waist

2 at waist

2 behind upper arms 2 at waist

2 at waist

2 at waist

2 at waist

2 at waist

2 at waist

2 at ears 2 above waist 2 at waist

2 above waist

2 at armpits

2 above waist

2 at waist

2 behind upper arms 2 at upper arms

Manufacture Airholes

HM-M S-H

Right arm broken

Right arm broken

Right arm broken

Surface eroded

Arms and legs broken Arms broken

Decor "retouched"?

Arms broken

Hands broken

Special Features

Lilien 1956: 224ff, Table 17, Plate XVI m

Lilien 1956: 241ff, Table 20, Pl. XVIII g

Lilien 1956: 248, Table 20, Pl. XVIII a

See Source

See Source

Inca-Peru (1990): no.216

Published

53

53

53

53

53

53

53

53

53

53

53

53

52

52

52

52

52

52

52

52

Plate

TABLE 25: CHANCAY SUB-GROUPS 1.3.1 AND 1.3.2: EARLY CUCHIMILCOS WITH EXTENDED ARMS – RED AND WHITE BASE 3-COLOUR GEOMETRIC AND RELATED WARES

435

MSCh 2781 (confiscated) PC6L MAI 6/5872 (Reid/Hendricks) MVM G 230 (Gáffron) MVM G 232 (Gáffron) MAI 6/5874 (Reid/Hendricks) EMB VA 3834 (Macedo) MVH B 2098 (Acqu. 1888-auction)

PC6L

Source

792

MNAA 54474 (confiscated)

Atypical

Ancón **

“Chancay?”

Coast of Peru

Coast of Peru

Site

20.0

F

20.5

16.6

F

F

20.0 9.5

(26.1)

21.6

19.1

13.7

(20.1)

15.9

26.0 15.8

53.5

H (cm)

F n/i

F

F

F

F

F

F F

F F

F

Sex

22.5

10.9

11.2

16.0 (4.8)

(13.0)

17.5

12.0

(7.3)

(11.5)

(11.8)

18.0 13.0

27.0

W (cm)

15.5

5.3

5.5 (4.1)

5.7

7.5

5.1

4.7

5.8

6.0

5.0

Th (cm)

Measurements

260

550

450

360

340

Wgt (g)

Black on white

Black on white

Black on white Purple-black on white Black on white

Black on white

Brown on white

Black on white

Black on white

Black on white

Black on white Black on white

Cream + dark brown Black on white Black on white

Colour

M+ HM

M

M M

M

M

M

M

M

M

M+ HM M M

H

H

H

H

H

H

H

H

H

H

H

2 behind upper arms

2 at waist

2 at waist

2 at waist

2 at waist

2 at waist

2 above waist

2 above waist

2 behind the waist

2 at waist

2 at ears 2 at waist

Manufacture Airholes

HM-M S-H

Hunchback Sitting

Hunchback? Arms broken

Right hand chipped Arms broken

Left hand broken Right arm partly broken Arms broken

Special Features

26: CHANCAY SUB-GROUP 1.3.3: EARLY CUCHIMILCOS WITH EXTENDED ARMS - BLACK-ON-WHITE WARE

SAC 364 234 EMB VA 6411 (Reiss and Stübel) 1250 MVM G 227 (Gáffron) 2412 Private CollectionDE (no data)

165

358

1802

1254

1256

2426 1798

SAC 247 956

2275

No

TABLE

Haas 1986: no.112

Published

54

54

54

54 54

54

54

54

54

54

54 54

54 54

54

Plate

436

EMB VA 6415 (Reiss and Stübel) MCP P.7427 (Ancón excavations) EMB VA 6395 (Reiss and Stübel) UPMP 43319 (collected by S. Mathewson Scott) BM 1900.11.17.17 (No data) MVH 49.2:8 (Dr. W. Timling) MVV 129272 (Purchase Popper) UPMP 33360 (Uhle 3360) UPMP 33281 (Uhle 3549) MRAHB AAM 46.7.207 (Grenade/Melendez) EMB VA 6413 (Reiss and Stübel) EMB VA 3840 (Macedo) MRAHB AAM 5433 (No data) EMB VA 48486 (van den Zypen) MVM G 708 (Gáffron) Strong 1925: Pl.49d (Uhle excavation) EMB VA 6417 (Reiss and Stübel) EMB VA 48704 (van den Zypen)

232

380

226

P504

1212

368

151

381

241

145

1542

1522

1307

191

45

1519

222

873

Source

No

Marquez * Chillón Valley

Ancón *** above grave T14 Ancón **

“Supe, Huacho”

Huacho *

“Ancón?”

Ancón **

Marquez * (North Corner) Chillón Valley Marquez ** (South Corner) Chillón Valley Huacho

Central Coast, Peru

Vicinity of Trujillo º º

Ancón

Ancón **

Ancón 1 T.555 ***

Ancón **

Site

F

F

F

F

F

F

F

F

F

F

F

F

F

F

F

F

F

n/i

Sex

16.0

(16.5)

20.1

16.5

11.4

(10.8)

11.0

12.5

(16.2)

15.0

11.7

18.7

22.1

18.0

23.7

20.1

9.3

H (cm)

9.0

(8.6)

12.9

11.6

(9.3)

6.5

(6.5)

8.7

(8.3)

(7.0)

(7.4)

12.3

16.4

11.8

(14.4)

(12.7)

6.0

W (cm)

4.3

4.1

6.6

5.6

2.9

4.5

3.9

4.3

4.0

3.4

5.3

4.8

4.0

5.8

4.5

3.2

Th (cm)

Measurements

390

600

420

130

640

330

80

Wgt (gr.)

Traces of white slip Terracotta + traces of white slip?

Terracotta + brown Terracotta + traces of white slip?

Traces of white slip + brown? Traces of white slip – front only Terracotta

Traces of white on terracotta Traces of white on terracotta Terracotta + traces of white (dirty) Traces of white slip (dirty) Buff

White + red

White + red

White + red

White + red

White + red

Colour

M

M

M

M

M

M

M

M

M

M

M

M

M

M

M

M

M

S

S

H

H

H

S

H

H

H

H

H

H

H

H?

H

H

H

n/a

n/a

2 behind arms (at back)

2 at waist

2 below waist

n/a

2 below waist

2 at waist

2 at waist

2 at waist

2 at waist

2 at waist

2 at waist

No

2 below waist

2 at waist

2 waist

Manufacture Air-holes

HM-M S-H

Arms damaged Arms partly broken

Right hand broken

Arms broken

Arms partly broken

Left arm broken Arms broken

Gravelot Left arm broken Left arm broken

Special Features

TABLE 27: CHANCAY SUB-GROUP 1.3.4: EARLY CUCHIMILCOS WITH EXTENDED ARMS - MISCELLANEOUS WARES

Haas 1986: no.110

See Source

Haas 1986: no.111

Lilien 1956: 234f, Table 17.

Lilien 1956: 234f, Table 17.

Lilien 1956: 234 ff, Table 17, Pl. XVI l

Haas 1986: no.113

Ravines 1981: 155-156

Haas 1986: no.119

Published

55

55

55

55

55

55

55

55

55

55

55

55

55

55

55

55

55

55

Plate

437

416

SAC 360 50

43

400

1998

BM +2767 (No data) EMB VA 383 (Macedo)

HMB 4-6493 (Uhle excavations) EMB VA 18684 (Baessler) BM 1900.6.22.1 (No data)

Lauren (Lauri) *** Grave B2, Chancay V.

HMB 4-6492 (Uhle excavations)

SAC 255 1997

Ancón

Lauren (Lauri) *** Grave B2, Chancay V. Chancay *

Pisquillo * Chancay V.

Quintay * Huaura Valley

Lauren (Lauri) *** Grave B1, Chancay V.

Lauri * , Chancay V.

Chancay

Haida (not located)

1547

567

2165

110

1430

1463

26

1992

1246

1245

1251

544

109

474

MVV 139.793 (V. von Hagen coll.) EMB VA 4254 (Macedo) MEG 14639 (Schatzmann) MAL 1647 (no data) MVM G 226 (Gáffron coll.) MVM G 224 (Gáffron coll.) MVM G 223 (Gáffron coll.) HMB 4-6437 (Uhle excavations) BM 1954-W AM5.667 (No data) UPMP 34138 (Uhle coll. 1353) AMNH 41.2.605 (Gift E. Cornstock) MEG 14158 (Schatzmann) HMB 16-12021 (Gift Kelly?) MAL 1646 (no data) UPMP NA 5870 (Steigwart collect.)

1333

Site

Source

No

F

n/i F

F

F

F

F F

F

F

F

F

F

F

F

F

F

F

F

F

F

F

F

Sex

19.2

23.5 22.2

25.1

19.2

17.9

29.0 18.3

26.6

28.0

26.0

26.5

26.2

28.5

26.8

28.8

23.3

23.0

19.2

15.7

27.5

27.7

31.5

H (cm)

14.5

18.5 14.5

16.1

14.1

(13.7)

21.0 12.6

19.8

20.5

18.0

19.1

18.2

21.4

20.4

19.6

17.3

17.8

14.7

12.9

20.1

18.8

22.0

W (cm)

7.2

8.0 8.3

8.0

6.4

6.7

6.5 7.4

8.3

8.2

8.0

8.2

7.4

8.3

8.0

7.9

7.0

7.3

6.3

6.5

8.0

(10,0)

Th (cm)

Measurements

460

470

680

550

440

over 1000

750

920

980

ca 1000 1060

650

560

910

Wgt (gr.)

Brown on yellow-white Black on white Brown on yellowy white Reddish brown on cream

Black on yellow

Black on white

Black on white Black on white

Brown on yellow-white Black, red on white Brown + red on yellow -white Black on white

Brown, red on yellow-white Brown on yellow-white Brown on yellow Black on white

Black on white

Black on white

Brown on yellow-white Red-brown on cream Black on white

Black on white

Black on white

Colour

M

M M

M

M

M

M M

M

M

M

M

M

M

M

M

M

M

M

M

M

M

M

H

H

H

H

H?

H

H

H

H

H

H

H

H

H

H

H

H

H

H

H

H

2 at ears 2 at waist

2 at waist

2 at waist

2 at waist

No

2 at waist

2 at ears 2 at waist 2 at ears 1 at waist (left side) 2 at ears 2 at waist 2 at ears 2 at waist 2 at ears 2 at waist 2 at ears 2 at waist

2 at waist

2 at ears 2 at waist 2 at ears 2 at waist 2 at ears 2 at waist 2 at waist

2 above waist 2 at ears? 2 at ears 2 at waist 2 at ears 2 at waist 2 at waist

Manufacture Air-holes

HM-M S-H

Gravelot with 1994, 2061/sg. 1.4.2, 1996/sg. 2.3, 1995/Gr. 3

Gravelot (with 1993/ sg. 1.4.2)

Dressed

3

? 3

4

3

3?

? 3?

3

3?

3

3

3

3

3

4

2

2

4

3

3

2

3

H'dr. Holes

Special Features

Lilien1956: 241 ff, Table 20, Pl. XVIII e, f.

Lilien 1956:241ff, Table 20.

Seler 1893: Tafel 13.2

Published

TABLE 28(1): CHANCAY SUB-GROUP 1.4.1A: CLASSIC BLACK-ON-WHITE CUCHIMILCOS : SMALL CUCHIMILCOS WITH HEADS WIDER THAN HIGH

58

58 58

58

58

58

58 58

58

58

57

57

57

57

57

57

57

57

57

57

57

57

57

Plate

438

1

1458

16051

1602

478

396

359

P505

476

117

477

515

200

494

475

485

SAC 358 470

1465

52

54

EMB VA 18686 (Baessler) EMB VA 32985 (Seler) EMB VA 18691 (Baessler) EMB VA 11929 (Middendorf) MVH B 1079 (Lüders) MHP 87.114.71 (Gift Le Moyne) EMB VA 2570 (Gift Dr. Velten 1877) MEG 14660 (Schatzmann Collect.) EMB VA 32986 (Seler) Strong 1925:Pl.49a (Uhle excavations) EMB VA 18685 (Baessler) EMB VA 19423 (Baessler) EMB VA 18696 (Baessler) FMC 100147 (Purch. Zabaleta) FMC 5614 (Purch. Harris) TMW 1963.13.2 (No data)

MEG 14661 (Schatzmann coll.) MVM G 228 (Gáffron coll.) MHP 84.3.6 (Soc. de Géographie) BM 1939 AM.113 (No data) UPMP 34142 (Uhle coll. 1357)

118

1248

Source

No

Chancay

Chimbote º º

Chancay *

Chancay*

Ancón, Site T ** Midden Chancay *

Chancay

Magdalena nr Lima *, Rimac Valley

Chancay

Chancay

Chancay

Chancay *

Chancay

Chancay *

Quintay * Huaura Valley

Ancón

Site

F

F

F

F

F

F

F

F

F

F

F

F

F

F

F

F F

F

F

F

F

F

Sex

15.2

(ca 15.0)

13.0

12.0

(14.5)

18.0

20.0

13.0

14.5

27.9

19.5

22.3

16.5

16.5

18.5 17.7

12.7

14.5

13.6

16.5

17.5

H (cm)

12.0

8.7

10.7

13.0

13.0

6.2

11.0

19.1

13.1

15.4

9.7

12.4

13.8 14.0

8.2

9.8

10.6

11.8

12.8

W (cm)

3.4

(4.2)

7.5

7.8

(3.0)

5.5

8.8

6.8

6.4

5.1

4.4

5.0 6.7

4.6

3.9

4.3

6.8

5.5

Th (cm)

Measurements

370

480

230

540

560

280

260

430

190

240

230

380

400

Wgt (gr.)

Black on white

Black on white

Black on yellowwhite Black on white

Black on white

Black on white

Black on white

Black on white

Black on white

Brown on buff

Black on white

Black on white

Black on white Black, red on white Black on white

Brown on yellow-white Brown on yellow Black on white

Brown on yellow-white Black on white

Colour

M

M

M

M

M

M

M

M

M

M

M

M M

M

M

M

M

M

H?

H

H

H

H

H

H

H

H

H

H

H

H

H

H

H

H

2 at ears (others?) 2 at ears 2 at waist

No

2 at waist

2 at waist

2 at waist

2 at waist

2 at waist 1 under left foot 2 at waist 2 under feet 2 at waist

2 at waist

2 at ears, (others?) 2 at ears 2 at waist 2 at ears 2 at waist 2 at waist

2 at waist

2 at waist

2 at waist

2 at waist

2 at waist

Manufacture Air-holes

HM-M S-H

On reed and textile litter

4

?

4?

3

?

6

3

3

3

3

3

4

3

3

3

3 3

3

3

?

4

3

H'dr. Holes

Special Features

See Source; Lilien 1956: 241ff, Table 18.

Lilien 1956: 241ff, Table 18, Pl. XVII c

Published

FTABLE 28(2): CHANCAY SUB-GROUP 1.4.1A: CLASSIC BLACK-ON-WHITE CUCHIMILCOS - SMALL CUCHIMILCOS WITH HEADS WIDER THAN HIGH

59

59

59

59

59

59

59

59

59

59

59

59

59

59

59

58 59

58

58

58

58

58

Plate

439

1

EMB VA 32999 (Seler) MAL 2826 Katz 1983: no.88 PMH 8520 (Coll. Agassiz 1875) M/UCLA X65-12949 (Gift Wellcome)

Examined in glass case

1917

568 P522 1634

SAC 357 SAC 222 495

Atypical

2386

1315

398

1365

1370

489

832

1304

C146

55

SAC 276

MHP 84.3.5 (Société de Géographie) Cornell University Dept. of Anthropology 986.1.54 MVV 139787 (Purch.V.v.Hagen) MPCS-90 Ma (2) VII (Horkheimer excav.) EMB VA 3881 (Macedo) AMNH B 8197 (Gáffron coll.) AMNH B 8191 (Gáffron coll.) EMB VA 48707 (van den Zypen) MVV 68611 (S/S “Donau”) MAM 8323 (no data)

FMC 168644 (Kroeber 1588/382) AMNH B 8201 (Gáffron coll.)

15981

1356

Source

No

Chancay

Lauri *, Chancay V.

Chancay

Marquez * Chillón Valley Marquez * Chillón Valley

Perú

Makatón *** Grave 2 Chancay Valley Ancón

Ancón

Infantas*, Chillón Valley Marquez * , Chillón Valley

Site

F

F F F

F F F

F

F

F

F

F

F

F

F

F

F

F

F

F

Sex

20.2

25.1 19.0 28.5

25.5 15.0 23.8

32.0

22.5

15.5

12.8

11.9

12.2

10.2

15.8

11.8

12.7

14.0

18.4

H (cm)

(18.3)

13.6 9.0 (19.0)

15.0 9.0 12.9

14.4

10.9

(8.5)

7.8

(8.4)

8.3

11.4

8.4

10.2

11.3

W (cm)

14.6

9.4 12.7? 11.0

6.5 4.0 6.5

6.5

4.4

4.8

3.8

(3.6)

3.8

6.0

4.8

4.3

6.5

Th (cm)

Measurements

over 1000 over 1000

600

700

420

210

130

300

200

Wgt (gr.)

Black on white

Black on white Black on white Reddish brown on cream Black on white Brown on cream White

Brown on cream

Black on white

Black on white

Reddish brown on cream Black on white

Black on white

Brown on yellow-white Black on white

Reddish brown on cream Reddish brown on cream Red-brown on cream Brown on yellow-white Black on white

Colour

M+ HM

M M M

M M M

F:M B:HM M

M

M

M

M

M

M

M

M

M

M

H

H

H

H

H

S

H

H

H

H

H

H

H

H

H

2 at waist

2 below waist

2 at waist

2 above waist

2 ears 2 below waist (1 left ear, 2 below waist, not through) 2 ears 2 waist

2 at waist

2 at waist

2 at waist

2 at waist

2 at waist

2 at waist

2 at waist

2 at waist

Manufacture Air-holes

HM-M S-H

Sitting Hunchback

No arms Folded arms

Gravelot data unavailable

3

3 2 No

? 3 4

?

4

3

No?

4

3?

?

No

5

?

?

3?

2?

H'dr. Holes

Special Features

See Source

Cuesta Domingo 1980: 216, no. P3

Lilien 1956: 241ff, Table 18, Pl. XVII k Lilien 1956: 241ff, Table 18, Pl. XVII h

Published

TABLE 28(3): CHANCAY SUB-GROUP 1.4.1A: CLASSIC BLACK-ON-WHITE CUCHIMILCOS - SMALL CUCHIMILCOS WITH HEADS WIDER THAN HIGH

60

60 60 60

60 60 60

60

60

60

60

60

60

59

59

59

59

59

59

Plate

440

1541

58

1819

836

1938

1169

3

80

1539

484

1168

1398

480

233

230

176

1990

839

1167

1579

EMB n/n (No data) AMNH 41.2/6691 (Anonymous gift) RJC 31934 (Gift van den Zypen!) MVB VA 48709 (van den Zypen) UPMP 34136 (Uhle coll. 1354) MHP 32.108.58 (Gift Ber) BM 1953-AM 12-4 (No data) RJC 31933 (No data) SWMLA 47-P-208 (Purchase B.Quick) MPCS-85 Pg 4 XXX (Horkheimer excav.) MAI 7050 (No data) MHP 84.3.7 (Société de Géographie) UPMP 34140 (Uhle coll. 1355)

MVM G 225 (Gáffron coll.) MPCS-87/La 2 XVI (Horkheimer excav.) FMC F5613 (Purch. Harris 1892) RJC 31931 (No data) MPCS 83- La (12) XL (Horkheimer excav.) HMB 4-6371 (Uhle excavations) MVH 70.47:1 (Gift I. Maccaulay) EMB VA 6369 (Reiss and Stübel) EMB VA 6399 (Reiss and Stübel)

1244

843

Source

No

Quintay * Huaura Valley

Ancón

Pisquillo Grande *** Grave 4, Chancay V. Pachacamac

Near Huacho, Huaura Valley Marquez, Chillón Valley

Marquez *, Chillón Valley Marquez *, Chillón Valley Quintay * Huaura Valley Ancón

Ancón **

Ancón **

Lauri ***, Grave 12 Chancay Valley La Mina Grave A1 *** Chancay Valley

Lauri Grave 2 *** Chancay Valley Chancay

Site

F

F

F

F

F

F

F

F

F

F

F

F

F

F

F

n/i

F

F

F

F

F

F

Sex

16.3

9.2

13.1

13.7

20.3

22.3

16.2

24.1

23.3

21.4

15.3

17.3

16.8

13.6

16.4

17.5

18.0

18.0

18.1

(20.1)

11.3

23.2

H (cm)

10.0

6.4

8.5

9.1

13.2

13.7

11.6

15.4

(13.0)

14.1

(9.8)

10 .8

10.6

8.8

(10.4)

10.8

12.1

11.4

12.0

(14.2)

8.3

15.7

W (cm)

4.8

4.5

3.9

3.6

6.5

6.3

4.4

6.2

5.8

6.4

3.6

4.7

4.6

3.7

5.4

4.7

6.0

4.9

4.9

(8.2)

4.2

6.7

Th (cm)

Measurements

440

80

230

180

500

650

270

760

480

370

290

210

350

350

430

310

410

120

700

Wgt (gr.)

Brown on yellow Red-brown on yell.white (traces) Black on white

Brown on pinky buff Black on white

Black on white + red Brown on yellow-white Reddish brown on yellow-white Black on white

Black on white

Black on white

Brown on yellow + red Black on white

Traces of brown on white slip Black on yellow-white

Brown on yellow-white Reddish brown on pinky buff Brown on buff

Brown on white

Brown on yellowwhite (front only) Dark brown on yellow-white Black on white

Colour

M

M

M

M

M

M

M

M

M

M

M

M

M

M

M

M

M

M

M

M

M

M

H

S

H

H

H

H

H

H

H

H

H

H

H

H

H

H

H

H

H

H

H

H

2 at waist

n/a 1

2 at waist

2 at waist

2 at waist

2 at waist

2 at waist

2 at waist

2 at waist

2 at ears 2 at waist 2 at waist

2 at waist

2 at waist

2 at ears 2 at waist

2 waist

2 at waist

2 at ears 2 at waist 2 at waist

2 at waist

2 at waist

2 at waist

2 at waist

Manufacture Air-holes

HM-M S-H

Gravelot (with 835/Gr.2)

Right arm broken

Right arm broken

Gravelot (with 1991/Gr.3)

Gravelot

Left arm, legs broken

Gravelot

3?

4

3

4

3

3

3

3

3

3

3

3

3

3?

6

2

3

3

3?

3

4

4

H'dr. Holes

Special Features

Lilien 1956: 241ff, Table 18, Pl. XVII a.

Lilien 1956:241ff, Table 18.

Reiss and Stübel 1880-1887: vol.III, Pl.91, fig.1/2; Lilien 1956: 241ff, Table 18; Kaulicke 1983: Abb.64.1,2; Haas 1986: no. 121.

Haas 1986: no.122.

Cornejo Guerrero 1985: Appendix 2, p.45

Cornejo Guerrero 1985: Appendix 2, p.12

Published

TABLE 29(1): CHANCAY SUB-GROUP 1.4.1B: CLASSIC BLACK-ON-WHITE CUCHIMILCOS: SMALL CUCHIMILCOS WITH HEADS HIGHER THAN WIDE

62

62

62

62

61

61

61

61

61

61

61

61

61

61

61

61

61

61

61

61

61

61

Plate

441

1

Source

UPMP 34141 (Uhle coll. 1356) MVB VA 3868 (Macedo collection) Centro Ligure Cat.IV,p.110,no.9

Examined in display case

P506

360

1461

BM 1909.12.7.1 (No data) FMC 168609 15991 (Kroeber 1588/345) 121 MRAHB AAM 5440 (Gift Groote) 1360 AMNH B 8971 (Gáffron coll.) 1942 SWMLA 47-P-535 (Purchase E. Arlen) 377 EMB VA 2571 (Dr. Velten 1877) 362 EMB VA 8377 (Centeno 1888) 65 MHP 78.2.741-2 (Gift Wiener) 1255 MVM G 231 (Gáffron coll.) 402 EMB VA 18697 (Baessler) 1932 LACM A.7988.63-244 (No data) 1793 AMNH B 5566 (Bandelier) 492 EMB VA 18694 (Baessler) 412 EMB VA 3874 (Macedo) 1853 MAI 5/1606 (Purch. in Dublin) 1543 UPMP 33279 (Uhle excav. 3547) 71 MHP 32.108.55 (Gift Ber) 2000 HMB 4-5547 (Uhle excavation)

30

No

F F F

Marquez (S. Corner) ** Chillón Valley Ancón

Ancón ** Grave A1

F

F

F

18.4

F

Trujillo º º

Quintay * Huaura Valley Chancay

22.0

F

“Ancón?”

13.0

19.5

13.7

14.1

18.4

13.9

14.9

F

Chancay*

11.1

F

12.9

F

Ancón *

9.8

10.0

F F

19.7

F

Chancay *

11.1

F

Cuzco º º

15.3

F 18.9

17.9

F

F

18.2

13.5

H (cm)

F

F

F

Sex

Ancón

Marquez *, Chillón Valley “Huacho?” Huaura Valley Marquez *, Chillón Valley

Site

13.9

8.2

8.3

11.7

(13.0)

11.1

8.7

8.1

(8.1)

8.2

5.3

5.9

11.9

7.3

11.8

9.8

9.8

11.1

8.1

W (cm)

4.9

3.4

3.7

6.4

6.0

6.1

5.8

4.6

3.4

3.6

2.7

3.3

5.3

4.0

5.1

5.7

5.9

4.2

Th (cm)

Measurements

470

190

160

490

450

420

250

190

70

110

480

110

220

460

570

190

Wgt (gr.)

Brown on yellow-white Brown on yellow-white Brown on yellow-white

Brown on yellow-white Black on yellow

Black on white

Black on white

Black on white (dirty) Brown on buff

Black on white

Black on white

Black on yellow-white Brown on yellow-white Black on white

Black on white

Brown on yellow-white Brown on white

Black on white

Brown on buff

Brown on yellow-white

Colour

M

M

M

M

M

M

F:M B:HM M

M

M

M

M

M

M

M

M

M

M

M

M

H

H

H

H

H

H

S

H

H

H

H

S

H

H

H

H

H

H

S?

H

2 at ears 2 at waist 2 at ears 2 at waist 2 at waist

2 at ears 2 at waist 2 at ears 2 at waist 2 at ears 2 at waist

n/a

2 at waist 1 between legs 2 at waist

2 at ears 2 at waist 2 at waist

2 at ears 2 at waist 1 at left ear 2 at waist 2 at ears 2 at waist n/a

2 at ears

2 at ears 2 at waist 2 at waist

n/a

2 at waist

Manufacture Air-holes

HM-M S-H

Gravelot ? (see Appendix 3)

Right hand broken

With load attached

?

3

3

3

4?

3

7

4

5

3

3

3

3

3

3

3

3

3

3

3?

3

H'dr. Holes

Special Features

See Source.

Strong 1925: Pl.49b; Lilien 1956: 241 ff, Table 18. Kaulicke 1983: Abb.56 F2. Lilien 1956: 241ff, Table 18, Pl. XVII b.

Lilien 1956: 241ff, Table 18.

Lilien 1956: 241ff, Table 18, Pl. XVII e.

Seler 1893: Taf.13.1

Lilien 1956: 241ff, Table 18, Pl. XVII f.

Published

TABLE 29(2): CHANCAY SUB-GROUP 1.4.1B: CLASSIC BLACK-ON-WHITE CUCHIMILCOS - SMALL CUCHIMILCOS WITH HEADS HIGHER THAN WIDE

63

63

63

63

63

63

62

62

62

62

62

62

62

62

62

62

62

62

62

62

62

Plate

442

Centro Ligure Cat.IV,p.111,no.10 EMB VA 24242 (Baessler) MPCS-94/Q.adq.XIII (Horkheimer excav.) MVBa IV c 14707 (No data) MRAHB AAM 46.7.201 (Grenade/Melendez) EMB VA 3835 (Macedo) MVV 3945 (S.S.”Novarra")

MVM G 221 (Gáffron coll.) MNAA 45223 (confiscated) EMB VA 43394 (probably van den Zypen)

P507

1243

C 147a

1080

Atypical

1321

493

142

526

842

487

Source

No

Pachacamac

Chancay

Huacho, Huaura Valley

Marquez *, Chillón Valley Huaquería ** (Lauri) Chancay Valley

Site

F

F

F

F

F

F

F

F

F

F

Sex

10.2

14.2

29.0

23.1

25.1

24.7

15.5

8.7

16.6

16.0

H (cm)

16.4

19.7

14.5

15.3

15.2

5.4

(9.8)

W (cm)

13.4

8.0

5.7

8.5

9.0

2.8

5.2

Th (cm)

Measurements

over 1000 670

540

580

600

60

Wgt (gr.)

Purply brown on white Black on white

Brown on yellow

Black on white

Brown on buff

Black on white

Brown on yellow-white Black on white (+ p. f. red?) Black on white

Colour

M

M

M

M

M

M

M

M

M

H

H

H

H

H

H

H

H

2 at ears 2 at armpits 2 at waist 1 at base 1 at waist (right side)

2 at waist

2 at waist

2 at ears 2 at waist 2 at ears 2 at waist 2 at waist

2 at waist

Manufacture Airholes

HM-M S-H

Sitting 3 hunchback Sitting hunchback; From Workbasket EMB VA 43378; associated with C 147b/sg.2.l, C 147c/Gr.6 (See Appendix 3)

No

3

3

3?

4

3

4

5?

H'dr. Holes

Special Features

3

See Source.

Bethlen [1986]: Workbasket no. 16

Published

TABLE 29(3): CHANCAY SUB-GROUP 1.4.1B: CLASSIC BLACK-ON-WHITE CUCHIMILCOS - SMALL CUCHIMILCOS WITH HEADS HIGHER THAN WIDE

63

63

63

63

63

63

63

63

63

63

Plate

443

HMB 4-6452 (Uhle excavations) HMB 4-6451 (Uhle excavations) Lavalle and Lang 1982:35 Lapiner 1968: no.43 SIW 350603 (Gift Mrs. Freyer) Lavallée and Lumbreras 1985: 303

2061

AMNH B 8414 (Gáffron) MAI 24/9499 (Card missing) EMB VA 3847 (Macedo) Private Collection US MEG n/n (119?)

1

Site

64.7

F

Lauren *** (Lauri), Grave B 1, Chancay V.

“Chancay?”

61.0 52.0

64.0

F F F

66.5 66.0

67.3 66.0

62.5

65.5

62.5

F F F

F F

F

F

F

67.0

F

Peru

66.0

F

Chancay *

50.5

F

Lauri * Chancay Valley

65.0 68.0 51.5

64.0

64.0 61.5

64.0

61.5

63.0

H (cm)

Peru

F

F F

F

F

F

Sex

F F F

Lauren *** (Lauri), Grave B2, Chancay V. Lauren *** (Lauri), Grave B2, Chancay V.

Photographed inside display case

SAC 452 1993 HMB 4-6463 (Uhle excavations)

SAC 463 SAC 457 P512 Hébert-Stevens and Arthaud 1972:158 P513 Lapiner 1976: fig.673

2418 116

461

1850

1795

SAC 451 SAC 458 1794 AMNH B 9092 (Gáffron) 587 MAL 1384 (no data) 1604 1 FMC 5803 (Dorsey) 2164 HMB 16/909 (acquired by Uhle?) 1861 MAI 20/601?

P510

P509 1444

P508

1994

Source

No

34.0 31.5

34.0 32.0

33.0

31.4

33.2

(23.5)

30.5

29.0

23.3

34.0 35.0 25.2

27.0

33.0

36.5

W (cm)

16.0 15.5

13.0 15.0

15.0

14.8

15.2

14.3

14.5

15.0

9.7

16.0 15.0 10.8

14.5

13.5

16.5

Th (cm)

Measurements

circa 2000

Wgt (gr.)

Red-brown on white Black on white Black, red on yellowy white

Black on yellowy white Black on white Black on white

Brown on yellowy-white Brown on yellowy-white Brown on yellowy-white Black on white

Reddish brown on pinky white Black on white

Black on white Black on white Brown on yellowy-white Black on white

Black on white

Black on white Black on white

Black on yellowy-white Black on yellowy-white Black on white

Colour

M+HM

M+HM

M+HM

M+HM

M+HM

M+HM

M+HM

M+HM

M+HM

M+HM

M+HM

M+HM

M+HM

H

H

H

H

H

H

H

H

H

H

H

H

H

HM-M S-H

2 at armpits

2 at ears, 2 at nose 2 at armpits

2 at ears, 2 at nose 2 at armpits 2 at ears, 2 at nose 2 at armpits 2 at ears, 2 at nose 2 at armpits 2 at ears, 2 at nose 2 at armpits 2 at ears, 2 at nose 2 at armpits 2 at ears 2 at armpits 2 at ears 2 at armpits 2 at ears, 2 at nose 2 at armpits

2 at ears, 2 at nose 2 at armpits

2 at ears, 2 at nose 2 at armpits 2 at ears, 2 at nose 2 at armpits

Air-holes

Manufacture

TABLE 30(1): CHANCAY SUB-GROUP 1.4.2: CLASSIC BLACK-ON-WHITE CUCHIMILCOS : LARGE CUCHIMILCOS

Gravelot with 1992/sg.1.4.1A

Arms broken

Gravelot with 1997, 1998/sg. l.4.1A; 1996/sg.2.3;1995/sg. 3.1

Special Features

4 3

3

3? 3 3

3? 3

3

3

3

3

3

3

3

3? ? 3

3

3 3

3

3

3

H'dr. Holes

See Source

See Source

Seler 1893: Taf.12.2

Lilien 1956: 240ff, Table 20.

See Source

See Source; Peru durch die Jahrtausende..: no.10.6 See Source

Published

65 66

65

65 65 65

65 65

65

65

65

65

65

64

64

64 64 64

64

64 64

64

64

64

Plate

444

Source

Site

SAC 459 P514 Sawyer 1975:Fig.194 1851 MAI 22/1790 Chancay (Purchase) 1233 MVM G 215 (Gáffron) 2427 Private Collection, DE SAC 454 SAC 453 SAC 455 SAC 456 1922 M/UCLA X74-424 (No data) P516 Stolen Treasures... no.60.1.544 P517 Stolen Treasures... no.60.1.543 2419 Private Collection US 204 MVH n/n 588 MAL 1624 Lauri *, Chancay Valley (no data) 463 EMB VA 3834 Chancay (Macedo) 1239 MVM 12-19-1 (No data) 460 EMB VA 33006 Chancay (Purchase Seler) 1924 LACM no.? P521 Sculpture from Peru... 1963: Fig.17 2387 MAM 8324 (no data) 2388 MAM 8340 (no data) SAC 460 2420 Private Collection US 1419 AMNH B 8779 Quintay * (Gáffron) Huaura Valley P520 Private Collection US 1150 CMN: Exhibition of Private Coll. 1982: Exhibit no.8 245 EMB VA 646 “Chancay?” (Coll. by Renner 1874) SAC 461

No

59.5 60.0 60.5 62.0 62.5 65.0 54.5 (Circa 66.0) (Circa 66.0) 68.6 (15.0) 56.0 61.5 55.5 59.5 61.0 63.5 48.0 46.6 60.0 66.7 41.0 54.6 53.2 48.0 66.0

F F F F F F F F

F F F F F F F F F F F F F F n/i F F

F

64.0 53.3 61.5

H (cm)

F F F

Sex

35.0

(18.6)

26.0

24.5

34.0

30.5

29.0

34.4

35.2

28.0 29.0 30.0 27.5 29.0

32.0

33.0 29.5 29.5

W (cm)

11.0

12.9

13.8

13.0

21.0

16.2

15.0

15.6

15.5

14.0 11.0 12.5 12.5 15.8

14.0

15.5 13.3 17.5

Th (cm)

Measurements

Circa 4000 Over 4000

3500

Wgt (gr.)

M+HM

M+HM

M+HM

M M+HM

M+HM

M+HM

M+HM

Brown on cream Brown on cream Black on white Dark brown on buff Brown on yellowy white Black on cream Brown on yellowy white Brown on yellowy white Black on white

M+HM

M+HM

M+HM

M+HM

H

H

H

H

H

H

H

H

H H

H

H

H

2 ears 2 armpits 2 nose, 2 ears 2 armpits

2 ears, 2 nose 2 armpits 2 ears 2 above waist

2 at ears; others ? 2 at elbows 2 at armpits 2 at ears 2 at waist 1 mouth, 2 at ears 2 at armpits 2 at ears 2 at waist 2 ears; 2 armpits

2 at ears 2 at waist

Head fragment

Near identical with P516

?

No

? No?

4

4 4 ? ?

3 4

4

3

No?

? 3 3

?

?

2 2 2 2 4

3?

4

? 4 ?

H'dr. Holes

Special Features

Near identical with SAC 454 ditto ditto

2 at ears, 2 at nose, 2 at elbows,2 above waist 2 at ears 2 above waist

Manufacture Air-holes

HM-M S-H

Brown, red on buff M+HM Black on white

Black, red on white Black on white

Black on white

Black on white Black on white Black on white

Black on white Black on white Black on white Black on white Brown on yellowy white

Black on white Black on cream Brown on yellow Dark brown on yellowy white Brown on cream

Colour

TABLE 30(2): CHANCAY SUB-GROUP 1.4.2: CLASSIC BLACK-ON-WHITE CUCHIMILCOS - LARGE CUCHIMILCOS

Kosok 1965: 231

See Source

Cuesta Domingo 1980:216, no. P1 Cuesta Domingo 1980:216, no. P2

See Source

Seler 1893:af.12.4

See Source

See Source

See Source

See Source

Published

67

67

67 67

67

67 67 67 67

67 67

67

67

67

66 66 66

--

66

66 ---66

66

66

66 66 66

Plate

445

P523

Lapiner 1968: no.42

Atypical

P528

698 575

2265 578

1237

2321 582

572

2422 SAC 246 SAC 359 2266 583

154

PC6L MAL 2709 (no data) MAL 3371 (no data) PC6L MAL 2703 (no data) MVM G 218 (Gáffron) PCL6 MAL 3372 (no data) PC1L MAL 3359 (no data) Larco Hoyle 1965:60

PC6L Bonavia 1994 Lapiner 1968: no.40 PC6L PC6L PC6L PC6L MVV 68615 (S/S “Donau”) Centro Ligure... Cat.IV, p.114, no.17 MRAHB AAM 46.7.393 (Grenade) Private Collection US

2251 P524 P525 2242 2244 2252 2322 1310

P526

Source

No

Piquillo Chico * Chancay Valley

Pisquillo *, Chancay V.

Lauri *, Chancay V.

Piquillo Chico * Chancay Valley

Lauri *, Chancay V.

Site

F

F

F F

F F

F

F F

F

F F F F F

F

F

F F F F F F F F

Sex

24.7

42.0 36.0

51.0 44.0

43.5

60.0

34.0

45.6 30.0 23.0 53.5 56.0

49.5

22.6 21.5

20.0 (20.9)

19.2

(25.0)

16.5

20.5 (13.0) 31.5 29.8

(28.0)

(23.1)

48.0 50.5

26.0 25.0 31.0

35.0 30.0

W (cm)

10.3 10.2

7.2

10.0

9.7

13.0

6.0 5.8

13.0

11.8

Th (cm)

Measurements

52.0 50.0 47.0 38.0 41.0 47.0

H (cm)

1,500

1,500

1,700

3,000

1,500

3,000

0ver 1,000

Wgt (gr.)

Black on white

Black on white Black, red on white

Black, red on cream Black on white

Black on white

Grey on white Black on white

Black on white

Black on cream "Black on white" "Black on white" Brown on cream Brown on cream

Brown on yellowy white

Brown on cream Brown on cream Brown on white Brown on cream Brown on cream Brown on cream Brown on cream Black on white

Colour

M?

HM HM

HM HM

HM?

M+HM HM

HM

M+HM HM

HM?

M+HM HM? HM M+HM M

M+HM M+HM

H H

H H

H

H

H

H H

H

H

H

H H H

H H

2 at ears, 2 at armpits 2 at ears, 2 below waist () 2 at ears, 2 at armpits 2 at armpits

2 at ears, 2 below waist () 2 at ears, 2 at armpits

2 at ears, 2 at waist 2 at ears, 2 at waist 2 at nose, 2 at ears, 2 at waist

2 at nose, 2 at ears, 2 waist , 1 vulva 2 at ears, 2 at armpits 2 at waist

2 at armpits 2 at ears, 2 at armpits 2 at ears, 2 at armpits 2 at ears, others? 2 at nose, 2 at ears 2 at armpits

2 at waist 2 at ears, 2 at armpits

Manufacture Air-holes

HM-M S-H

TABLE 31: CHANCAY SUB-GROUP 1.4.3: “BAROQUE” BLACK-ON-WHITE CUCHIMILCOS

Left arm broken

Left arm broken

Right arm broken Left arm broken

no

no

5 4

no 3

5

8 no

no

no? ? 4 no no

no

4

4 5 ? 8 no? 4 5 6

H'dress Holes

Special Features

See Source

See Source

See Source See Source

Published

69

69

69 69

69 69

69

69 69

68

68 68 68 68 68

68

68

68 68 68 68 68 68 68 68

Plate

446

Source

Site

Sex H (cm)

W (cm)

Th (cm)

Measurements Wgt (gr.)

Colour

Private CollectionUS (No data) Lavalle and Lang 1982: 85, right Lavalle and Lang 1982: 85, left AMNH 41.2.7545 Gift F. Landmann AMNH 41.2.7546 Gift F. Landmann

2423

F

M

M

F

F

F

51.5

51.5

58.0

56.0

55.2

48.5

27.2

24.3

35.0

39.0

26.0

ca 17.0

ca 17.0

MNAA 16683 (No data) Larco Hoyle 1965:61 Larco Hoyle 1965:62 BM +2766 (Purchase Christy) MM 06862 (acqu.. from private coll.) EMB VA 3833 (Macedo) EMB VA 3832 (Macedo) Ekholm and Eban n.d: no.125 left Ekholm and Eban n.d: no.125 right

1090

P536

P535

326

459

1127

P533 P534 29

325

PMH 41.52.30/2951 2 (Lothrop) EMB n/n (no data)

MRAHB AAM 70-8 (Gift Granda) MRAHB AAM 70-9 (Gift Granda) PMH 46.77.30/5196 (Lothrop) PMH 41.52.30/2952 (Lothrop)

P532

1635

1633

156

155

Chancay

Chancay

Chancay

“Probably Lachay “ near Chancay

Perace near Huacho, ** Huaura Valley (site not located) Huacho * Huaura Valley

F

M

F

M

M

M M M

M

M

F

M

F

M

F

[55.0?]

55.0

(34.0)

37.0

40.0

49.5

43.5

46.0

45.8

42.5

44.0

46.0

(17.5)

(19.4)

(19.0)

(19.0)

28.0

(30.4)

27.0

23.0

29.3

29.0

(10.5)

10.8

9.0

(13.0)

13.0

10.5

11.8

13.0

(ca 10.0)

(ca 10.0)

ca 1500

Over 3000

over 1000

Sub-Group 1.5.2: Black-on-white Chancay-Huaura Cuchimilcos Sub-Group 1.5.2A: Typical Black-on-white Chancay-Huaura Cuchimilcos

1408

1407

P531

P530

PC6L (no data)

2253

“Black, red on white” “Black, red on white”

Black on white

Brown on yellow-white Black, red on white Black on white

Brown, red on buff

Brown on buff

Reddish brown on pinky white Reddish brown on pinky white Brown on pinky buff Brown on buff

Black, cream on dark orange Black, cream on dark orange “Black, white, red on ochre” “Black, white, red on ochre” Brown, red on pinky buff Brown, red on pinky buff

HM

HM

HM

HM

HM

HM

HM

HM

M ?+ HM HM

HM

HM

M+ HM M+ HM M+ HM M+ HM

M+ HM

H

H

H

H

H

H

H

H

H

H

H

H

H?

H?

H

H

H

1 at mouth, 2 at ears

1 at mouth, 2 at ears, 2 at armpits, 1 penis 2 at ears, 2 at armpits, 3 through headdress 1 at mouth, 2 at ears

2 at ears, 2 at armpits 1 penis, 3 headdress 1 at mouth, 2 at ears, 2 waist, 4 headdress

2 at nose, 2 at ears 1 at mouth 2 at nose, 1 at mouth ,2 at ears, headdress? 1 at mouth, 2 at ears 1 at mouth, 2 at ears, 3 through headdress

No

No

2 at armpits

Manufacture Air-holes

HM-M S-H

Sub-Group 1.5.1: Early Chancay-Huaura cuchimilcos (Epigonal-related and 3-colour geometric)

No

TABLE 32(1): CHANCAY SUB-GROUPS 1.5.1 AND 1.5.2: CHANCAY-HUAURA CUCHIMILCOS

See Source See Source

Peru durch die Jahrtausende: no.10.3

Bawden and Conrad 1982:90

Lilien 1956 262ff, Table 24, P. XXII b

Minnaert 1937: 111-112; Inca-Peru: pp. 172-173, nos.214, 215

Lapiner 1976: Pl.658

See Source; Peru .... Jahrtausende: no. 10.7, 10.8

Published

Couple

See Source

Right arm broken Right arm Seler 1893: Taf.12.5 broken Head damaged; right arm broken

Arms broken

Left arm broken

Couple

Couple (dressed)

Couple

Couple

Special Features

71

71

71

71

71

70 71 71

70

70

70

70

70

70

70

70

70

69

69

69

69

Plate

447

Source

Site

Sex H (cm)

W (cm)

Th (cm)

Measurements Wgt (gr.)

Colour

PMH 38.9.30/1534 (Gift J. C. Tello) PC6L (no data) PC6L (no data) MAL 1936

PC6L (no data) PC6L (no data) Lavalle and Lang 1982: 75 SIW 147993 (Tryon collection) SIW 147994 (Tryon collection) Royal Scottish Museum no. 1962-879 Royal Scottish Museum no. 1962-880 PMH 38.9.30/1535 (Gift J .C. Tello)

PC6L PC6L

2274 2241

Peru

Miraflores *, Chancay Valley

Chancay

Chancay

Ancón

Ancón

M M

F

F M F

F

M

F

M

F

M

M F F

60.0 31.0

48.0

48.5 48.0 35.0

34..8

32.0

47.0

47.0

46.5

48.0

57.5 53.5 54.5

24.0 13.5

28.0

36.0 36.0 20.5

17.6

17.0

33.0

(28.0)

25.5 24.5 31.0

1811

524

1235

1236

1234

2036

MVM G 3728 (Gáffron) MVM G 3743 (Gáffron) MHP 64.86.39 (Gift R .D’Harcourt) MAI 10/9845 (Exchange Blackie)

HMB 16/1964 (Uhle - acquired?) MVM G 217 (Gáffron)

Ancón

“Chancay or Ancón” F

F

F

M

M

M

30.5

52.0

43.5

45.5

51.0

44.5

21.5

29.9

30.0

27.0

29.5

24.0

Sub-group 1.5.2B : Black-on-white Chancay-Huaura “Cantores”

SAC 298

776

Atypical

2267 2268 571

1740

1741

P539

P538

1446

1445

2245 2246 P537

8.5

9.8

13.5

13.5

16.0

11.0

9.5

11.0

10.4

11.0

12.0

over 1000

5.200

3.200

4.100

HM HM HM

HM

HM

HM

HM

HM HM

Black on buff (dirty) Brown on yellow-white

Black on white

Black on white

Black, red on white Brown on buff

M ?+ HM

M ?+ HM M ?+ HM HM

M ?+ HM

HM

H

H

H

H

H

H

H H

H

H H H

H

H

H

H

H H

Couple

Special Features

2 at nose, 1 at mouth, 2 at ears

2 at nose, 1 at mouth, 2 at ears 1 at mouth

2 at nose, 1 at mouth, 2 at ears 2 at nose, 1 at mouth, 2 at ears, 3 through headdress 1 at mouth, 2 at ears

2 at ears,1 at mouth 1 at mouth 2 under feet

1 at mouth

1 at mouth 1 at mouth 2 at nose, 1 at mouth, 2 at ears, 2 at armpits, 1 at vulva, 1 at anus

1 at mouth

1 at mouth

Couple?

Allegedly Couple

Couple

Couple

1 at mouth, 1 at penis, Left arm broken 3 through headdress 1 at mouth, 2 at ears Couple

1 at mouth, 2 at ears 1 at mouth, 2 at ears

Manufacture Air-holes

HM-M S-H

Grey, red on HM cream Brown on pink-buff M+HM Brown, dark red M+ on yellow-white HM

over Pale brown on 1000 cream + p.f. black, red Pale brown on cream + p.f. red Brown on cream Brown on cream Black on white + traces of pink

“Black on cream”

“Black on cream”

Black on white

Brown on cream Brown on cream Black, red on white Black on white

Sub-group 1.5.2A (continued): Typical Black-on-white Chancay-Huaura Cuchimilcos

No

TABLE 32(2): CHANCAY SUB-GROUPS 1.5.1 - 1.5.3: CHANCAY-HUAURA CUCHIMILCOS

Lilien 1956: 241ff, Table 20, Pl. XVIII b, c.

Source: Royal Scottish Museum 1971: Ancient American Art: nos. 1962-879, 1962:880

See Source

Published

72

72

72

72

72

72

72 72

72

71 71 72

71

71

71

71

71

71

71 71 71

Plate

448

Source

Site

Sex H (cm)

W (cm)

Th (cm)

Measurements Wgt (gr.)

MAL 1945 (no data) Private Collection US

Private Collection US Sawyer 1975: fig.195

MAL 105 (no data) Lapiner 1967:no.49 BCM 213’57 (Gift Hutchison 1957) MAI 13/4204 (Gift Hendricks)

577

2424

2425 P546

584

MNAA 40229 (confiscated) EMB VA 1549 (Bastian)

797

457

MAI 15/1448 (G. Heye collection)

1796

Atypical

1866

P540 1146

2254

1089

581

P543

P542

Lavalle and Lang 1982: 40, left Lavalle and Lang 1982: 40, right Lavalle and Lang 1982: 45 MAL 3369 (no data) MNAA 15/322 (no data) PC6L (no data)

P541

Lauri, Chancay Valley Chancay

Cuzco º º

Bolivia º º

Lauri * Chancay Valley

Pisquillo Chico * Chancay Valley

Caqui * Chancay Valley Huacho, Huaura Valley

M

M?

M

F

F M

F

F F

M

(M)

M

M

M

M

F

M

37.7

24.1

33.0

25.2

36.8 32.3

76.0

61.6 46.7

58.2

(23.6)

36.0

32.2

55.0

57.0

58.0

58.0

(16.2)

14.0

19.8

15.5

23.2

35.0

18.0

(22.1)

28.0

19.1

(22.1)

36.0

34.0

34.0

12.3

7.9

12.5

7.4

11.0

19.4

11.4

10.1

12.0

over 1000

over 1000

circa 7.500

circa 2500 over 1000

Sub-group 1.5.2B (continued): Black-on-white Chancay-Huaura "Cantores"

No

Brown, dark red on buff + traces of orange Brown, white on terracotta Black on white

Reddish brown on pinky white + pf. red

Black on white

Brown on buff “Black and brown slip” (sic!) Black-on white + traces of pink

Brown on buff

Black on white + pf red Red on cream

Reddish brown on pinky buff Black on white

Brown on ochre

Brown on ochre

Brown on ochre

Colour

HM

HM

HM

HM

HM?

HM

HM

HM

M?

HM

HM

H

H

H

H

H

H

H H

H

H

H

H

H

H

H

Left arm broken

Couple

Special Features

1 at mouth

1 at mouth

2 at waist

1 at mouth

1 at mouth, (others?) 1 at mouth, 2 at ears

1 at mouth

Arms broken

1 at mouth, 2 at ears, Head and chest 2 at armpits, (others?) fragment 1 at mouth, (others?) Couple? 1 at mouth, (others?) 1 at mouth, (others?)

1 at mouth, 2 at ears, 2 at armpits 1 at mouth, 2 at ears, 2 at armpits 1 at mouth, 2 at ears, 2 at armpits 1 at mouth, 2 at ears, 2 at armpits 1 at mouth 2 at ears 1 at mouth

Manufacture Air-holes

HM-M S-H

TABLE 32(3): CHANCAY SUB-GROUPS 1.5.1 - 1.5.3: CHANCAY-HUAURA CUCHIMILCOS

Seler 1893: Taf.12.1

Larco Hoyle 1965: 59; Lavalle and Lang 1982: 73, right See Source

See Source

See Source

See Source

See Source

Published

73

73

73

73

73 73

73

73 73

73

73

73

73

72-73

72

72

72

Plate

449

Source

Site

Sex H (cm)

W (cm)

Th (cm)

Measurements

EMB VA 18622 (Baessler)

MVV 139791 (Purchase von Hagen) SWMLA 1710-61 (Gift Hetzel) BCM A 833’51 (Wellcome Trustees)

456

1305

Huacho * Huaura Valley

Salinas de Huacho * Huaura Valley

F

M

M

M

33.7

20.0

40.0

30.0

(22.0)

13.0

23.9

20.1

10.0

5.8

11.4

9.1

2,790

over 1,000 over 2,000 ca 500

Wgt (gr.)

SAC 431 1282 PC1M (no data) SAC 373 SAC 350 111 MEG 32517 (Exch. A.Métraux) 1174 MVM G 413 (Gáffron) 1225 MVM G 1451 (Gáffron) 1359 AMNH 41.2/6853 (Gift L. Drimmer) 1921 M/UCLA x73-250 (Gift Kuhn) 1915 M/UCLA x73-253 (Gift Kuhn) 1743 PMH 46.77.30/6888 (Lothrop) SAC 466 51 BM 1954.W.Am5:188 (No data)

1147

1936

Peru

Miraflores, Chancay Valley

Supe

29.5 26.4

F F

16.8

F 14.1

22.8

F

F

20.3

19.0

F F

20.7

37.0 22.4 27.0 13.5 18.7

32.2

26.3

27.0

F

F F F F F

F

F

F

22.0 18.1

10.5

12.2

15.8

12.8

12.5

12.8

23.0 16.1 22.0 8.3 13.8

19.0

19.2

16.4

6.5 6.9

4.9

6.5

7.4

5.3

5.6

6.7

12.0 7.2 6.5 5.0 6.1

9.0

10.2

8.9

Yellow + brown

580

230

Black on yellow-white Yellow-white + dark brown

Pinky buff + brown Black on white

Buff + reddish brown Cream + Brown

Pinky-buff + red

Black on white

Dark yellow + dark brown

Cream + Brown

Yellow + Brown

Black on yellow-white

Black, dark red on terracotta Black on yellow-white Red on yellowwhite

Colour

410

760

570

460

490

410

460

over 1000 over 1000 over 1000

Sub-group 1.5.3: A Chancay-Huaura variant: Cuchimilcos of the Jecuan sub-style

793

576

MVM G 3827 (Gáffron) MAL 3357 (no data) MNAA 48175 (confiscated)

1257

Sub-group 1.5.2C: Chancay Cuchimilcos with Chancay-Huaura features

No

M

M

M

M

M

M

M

M

M?

M

M

M

M+ HM?

M

M

M

H

H

H

H

H?

H

H

H

H

H

H

H

H

H

H

H

2 at ears 2 at waist

2 at waist

2 at waist

2 at waist

2 through chest and back No

2 at waist

1 at mouth

1 at mouth

2 at ears 2 at waist

1 at mouth

1 at mouth

2 at nose, 2 at ears, 1 at anus, 3 through headdress 2 at ears 2 at waist

2 at waist

2 at ears

Manufacture Air-holes

HM-M S-H

TABLE 32(4): CHANCAY SUB-GROUPS 1.5.1 - 1.5.3: CHANCAY-HUAURA CUCHIMILCOS

Wrapped in textile

Right arm broken

Special Features

A. Oswald (n.d.?): Ancient America: The American Collections of the City of Birmingham Museum and Art Gallery: Pl.ate XVI upper left.

Published

74 74

74

74

74

74

74

74

74 74 74 74 74

74

74

74

74

74

74

74

Plate

450

Source

Site

Sex H (cm)

W (cm)

Th (cm)

Measurements

1317

1827

1384

1025

1217

124

1437

479

P547

490

1357

414

432

1358

1510

1546

413

369

841

MCP 84 / Q.Adq.XI (Horkheimer excav.) EMB VA 27966 (van den Zypen) EMB VA 35156 (van den Zypen) UPMP 33244 (Uhle 134) UPMP 33359 (Uhle 3359) AMNH B 8972 (Gáffron) EMB VA 35893 (van den Zypen) EMB VA 48708 (van den Zypen) AMNH B 8970 (Gaffron) EMB VA 23992 (Baessler) Schmidt 1929:256, lower left (Baessler) EMB VA 37400 (van den Zypen) AMNH B 8966 (Gáffron) MRAHB AAM 46.7.207 (Purch. Beer) MVM G 1458 (Gáffron) MNAA CH/74 (No data) AMNH B 8166 (Gáffron) MAI 16/261 (?) (E. Lott collection ?) MVV 68606 (S/S “Donau”)

Pachacamac

Vicinity of Lima *

H. El Palmo, Marquez ** Chillón Valley Marquez * (North Corner) Chillón Valley Marquez * Chillón Valley Marquez * Chillón Valley Marquez * Chillón Valley Marquez * Chillón Valley Copacabana, * Chillón Valley Vicinity of Lima *

Ancón *

Huaquería, Lauri ** Chancay Valley Chancay *

F

F

F

F

F

F

F

F

F

F

F

F

F

F

F

F

F

F

14.5

(10.6)

8.3

17.4

11.5

(11.1)

13.7

(11.2)

20.0

16.1

18.7

16.6

20.3

17.4

15.8

19.4

13.3

19.5

14.6

9.9

7.9

(5.5)

10.2

(5.4)

(7.1)

(8.1)

6.4

(8.6)

10.2

11.5

11.2

(12.7)

9.4

(9.5)

6.9

10.6

8.6

4.1

4.1

1.9

5.6

2.8

4.0

(4.1)

2.8

3.6

4.9

5.1

(5.3)

5.4

4.5

4.7

3.6

5.5

3.7

Sub-group 1.6.1A: Medium sized, mold-made, mostly hollow figurines

No

300

500

390

320

190

470

210

Wgt (gr.)

Terracotta + white Dark terracotta + white Terracotta + traces of white Brown (dirty)

Terracotta + traces of white Terracotta + white Brown

Terracotta + white Terracotta + white Terracotta + white Terracotta +dark red slip (front) Terracotta + white Terracotta + white Grey (dirty)

Terracotta + white Dark terracotta + cream, red? Dark terracotta + black Terracotta

Terracotta

Colour

M

2 M?

2 M?

M

M

M

M

M

M

M

M

M

M

M

F:M B:HM M

F:M B:HM M

H

S

S?

H

S

H

H

H

S

H

H

H

H

H

H

H

H

H

2 at waist

n/a

n/a

(2 at waist, from side to side) 2 at waist

2 at waist

2 at waist

2 at waist

2 at ears 2 at waist 2 at ears 2 at waist n/a

2 at waist

2 at ears 2 at waist 2 at waist

2 at ears 2 at waist 2 at waist

2 at waist

2 at waist

Manufacture Air-holes

HM-M S-H

Headdress damaged

Right arm damaged Right arm damaged Headdress damaged Arms damaged

Headdress damaged

Left arm damaged

2x3

?

3

2x2

3 or 4? 4?

2x3

3?

4

2x2

2

3

3x2

3

Headdress 3x2 damaged Headdress 4 damaged Left arm damaged; left leg broken 3

4

H'dr. Holes

Special Features

TABLE 33(1) : CHANCAY SUB-GROUP 1.6.1: CUCHIMILCOS OF PHASES 3 AND 4 (CLASSIC AND LATE CHANCAY) IN RED WARES

Lilien 1956:256ff, Table 23, Pl. .XX w

Lilien 1956: 256ff, Table 23, Pl. XX u

See Source; Lilien 1956: 260f., Table 24, Pl. XXIc.

Lilien 1956: 256ff, Table 23, Pl. XX o Lilien 1956: 256ff, Table 23, Pl. XX q

4?

Published

75

75

75

75

75

75

75

75

75

75

75

75

75

75

75

75

75

75

75

Plate

451

Source

Site

Sex H (cm)

W (cm)

Th (cm)

Measurements Wgt (gr.)

PMH 46.77.30/5115 Supe* (Lothrop) EMBasel IVc 310 Huacho (Gift Mazarey 1910) Huaura Valley MNAA H/13383 Huacho (No data) Huaura Valley EMB VA 48765 Chuquitanta * (van den Zypen) Chillón Valley EMB VA 48724 Marquez * (van den Zypen) Chillón Valley EMB VA 48863 Vicinity of Lima* (van den Zypen) Kennedy Easby 1966: no.536 MNAA m/1206 (From Museo Historia Nacional-1926) MCP n/n (No data) MNAA n/n (18) (No data) UPMP 33276 Marquez ** (South corner) (Uhle 3556) Chillón Valley BM 1909.12.7.4 (Ch. Smith)

1748

31

1545

1056

880

642

P548

248

247

253

1088

106

n/i

F

n/i

F

F

F

F

F

F

F

F

F

F

F

n/i

F

n/i

n/i

n/i

F

Sub-group 1.6.1B: Larger and/or sitting figurines

361

Capilla Marquez, ** Chillón Valley Marquez * Chillón Valley

Marquez * Chillón Valley Marquez ** (S. Corner) Chillón Valley Cemetery A, Marquez *** Chillón V. Marquez ** (El Palmo), Chillón Valley Marquez * Chillón Valley Ancón, grave T2 ***

M.R. Luján Dávila excavation EMB VA 48702 (van den Zypen)

EMB VA 48701 (van den Zypen) UPMP 33280 (Uhle 3548) FMC 168820 (Kroeber 1588/572) UPMP 33245 (Uhle 134) EMB VA 36173 (van den Zypen) HMB 4-5774 (Uhle excav.)

C155

2013

407

1481

1595

1544

370

7.7

(11.6)

14.3

(18.3)

30.4

46.4

54.0

45.5

39.6

38.5

35.5

36.5

12.9

!4.0

12.4

(13.0)

(17.5)

(11.2)

(17.5)

(17.1)

5.5

(10.0)

(8.7)

(11.3)

(16.6)

(37.0)

(22.0)

24.3

(14.5)

(21.6)

24.0

9.7

8.2

(8.6)

(7.6)

(10.0)

(8.5)

12.6

11.2

4.9

6.8

6.1

3.3

9.0

13.5

13.1

10.8

9.9

9.5

11.5

3.9

3.9

4.3

(4.2)

4.6

4.1

4.3

70

(Very heavy)

Over 2500 3,900

over 1000 over 2000 (Very heavy) 1640

Sub-group 1.6.1A: Medium sized, mold-made, mostly hollow figurines (cont.) Associated [Possibly Ychsma]

No

M

M

Traces of white on dark terracotta Traces of white on dark terracotta White on terracotta

Terracotta

Terracotta

Bright terracotta + white Red slip

Pale terracotta + grey Terracotta + white Terracotta

Terracotta + white Dark yellow slip

Terracotta + Traces of white Buff (dirty )

M

HM

M+ HM? HM

M+ HM? M+ HM M+ HM?

M+ HM M+ HM? HM

M

HM

1M

M

H

H

H

S

H

H

H

H

H

H

H

H

S

S

S

S

H

S

H?

H

2 below waist (at side of legs) 2 below waist (at side of legs) 2 at side of legs

n/a

2 ears, 2 nose, 2 waist (v. large) 2 ears 2 waist 2 below ears 2 waist 2 shoulders, 1 vulva 2 ears 2 waist 2 at armpits

2 ears 2 waist No

n/a

n/a

2 through headdress n/a (2 at waist, not through) n/a

n/a

2 at ears 2 at waist No

Manufacture Air-holes

HM-M S-H

Terracotta + white M slip (front only) White slip (front M only) on terracotta Cream (front M (face) only) + brown ? + HM White, red M

Traces of white slip (dirty) Dark terracotta

Colour

Arms and legs missing Sitting (rotund); arms broken Sitting (rotund) Sitting (rotund)

Left arm broken

see back

Arms broken

Red post-fired paint on face Left arm broken Arms broken

Headdress damaged Gravelot

no

4?

1?

2x2

2x2

no

no

4?

2x2

2x3

no

4

3

no?

2

Published

See Source

Lilien 1956: 263, Table 24, Pl. XXII a

To be published in Luján Dávila and Rivas Otaiza (MS.)

Strong 1925: 141, 181, Pl.49c; Lilien 1956: 241ff, Table 18.

Headdress ? damaged Legs 2x2 damaged? Head, right arm missing; Gravelot Headdress damaged 2 Left leg broken 2

H'dr. Holes

Special Features

TABLE 33(2) : CHANCAY SUB-GROUP 1.6.1: CUCHIMILCOS OF PHASES 3 AND 4 (CLASSIC AND LATE CHANCAY) IN RED WARES

77

77

77

77

77

76

76

76

76

76

76

76

76

76

76

76

76

76

76

76

Plate

452

1

Source

Site

Sex H (cm)

EMB VA 27977 (van den Zypen) MNAA 40249 (confiscated) HMB 4-5851 (Uhle excavations) EMB VA 6420 (Reiss and Stübel)

348

Marquez * Chillón Valley

n/i

F

n/i

n/i

F

F

16.6

19.5

24.0

19.8

(26.5 ) 1

20.1

12.8

15.0

21.5

16.1

13.6

13.4

W (cm)

10.5

11.3

16.0

9.8

(9.7)

9.8

Th (cm)

Measurements

EMB VA 855 (Bastian) PMH 54742 (Purch. Bucklin 1876) EMB VA 48698 (van den Zypen) SWMLA 491-G 2047 (Ch,McC Reeve coll.) EMB VA 37401 (Cat. entry missing) EMB VA 34026 “?” (Cat. entry missing) MVH 21.88:2 (Gift A. v. Döhren)

Marquez * Chillón Valley

Ancón

Ancón *

Ancón **

Ancón, grave E1 ***

Chancay

F

F

F

F

F

F

F

F

F

F

F

14.3

8.5

9.4

9.2

13.2

18.5

8.0

3.9

(8.1)

16.2

10.8

(7.4)

(5.3)

5.9

6.2

(6.6)

9.0

4.7

2.7

(4.3)

(8.5)

5.5

4.3

2.8

2.3

2.0

(3.4)

4.4

2.6

1.2

2.2

4.0

2.9

460

Terracotta

White slip

White on red

Dark terracotta

Terracotta

Dark terracotta

Terracotta

Dark terracotta

Red + white, red pf incrustations Pale red on terracotta Terracotta

White and terracotta Dark brown (patchy) Yellowy-white on dark red White and terracotta

Terracotta

Red + white

Colour

Measurement taken on the dressed specimen; the actual figurine measures ca 21.0 cm

157

364

238

1941

397

1700

384

235

2063

801

Chancay *

660

790

Wgt (gr.)

Sub-group 1.6.1C: Smaller, solid figurines, made of one mold or hand-made

374

MVV 68.616 (S/S “Donau”) MVB VA 48690 (van den Zypen)

MHP 78.54.13 Ancon * (De Cessac Mission) MAAC 51.924 (Gift Wellcome Found.) EMB VA 3308 “Ancón?” (Gift Gramatzky 1885) PC6L

1318

2318

373

2184

507

Sub-group 1.6.1B: Larger and/or sitting figurines (cont.)

No

1M

1M

1M

HM?

1M

1M

1M

1M

1M

1 M or HM? 1M

M+ HM? M+ HM? M

M

M

M

S

S

S

S

S

S

S

S

S

S

S

H

H

H

H

H

H Sitting Dressed Sitting hunchback Sitting hunchback Sitting hunchback Sitting hunchback

Sitting

n/a

n/a ( 2 through chest) n/a

n/a

n/a

n/a ( 2 through arms) n/a

Left leg broken Left arm broken Left leg broken

Left arm broken

Published

1

2x2

no

3

4?

4

4

no

no

no

3

2x2

2x2

4

2x2

Lilien 1956: 256ff, Table 22, Pl. XX c

Reiss and Stübel 1880-1887: vol. III, Pl. 91,fig.14; Kaulicke 1983: Abb.64.14; Haas 1986: no. 129

Strong 1925: 168, 177.

damaged Dressed: see Anton 1972: Fig. 221

4

H'dr. Holes

Special Features

n/a ( 2 through arms, 1 below waist (left)) n/a Left arm ( 2 through chest) broken n/a Right arm broken ( 2 through chest) Gravelot n/a ( 2 through chest)

2 at waist

2 at waist

1 mouth, 2 behind shoulders 1 mouth, 2 behind shoulders 2 through ears 2 at waist 2 at waist

Manufacture Air-holes

HM-M S-H

TABLE 33(3): CHANCAY GROUP 1.6.1: CUCHIMILCOS OF PHASES 3 AND 4 (CLASSIC AND LATE CHANCAY) IN MISCELLANEOUS RED WARES

77

77

77

77

77

77

77

77

77

77

77

77

77

77

77

77

77

Plate

453

1

Source

Site

Sex H (cm)

W (cm)

Th (cm)

Measurements

PMH 46.77.30/6161 (Lothrop) EMB VA 27979 (van den Zypen) EMB VA 17427 (Baessler) AMNH 41.0.5629 Myron Granger Expedition 1930 AMNH B 8196 (Gáffron collection) EMB VA 48697 (van den Zypen) M/UNMSM 604 (No data) AMNH 41.2/5267 (Coll. Ch. Perpenti)

1

Rimac Valley

Caudivilla * Chillón Valley Marquez * Chillón Valley

Ancón ** “Main shell heap”

(Pacasmayo)

Hacienda Humaya * Huaura Valley Chancay *

F

F

F

F

F

F

F

F

10.2

11.1

17.6

12.6

(15.8)

10.2

(circa 19.0) (12.5)

7.3

(7.2)

9.8

(5.8)

12.7

8.5

(8.3)

3.3

2.9

7.7

3.7

5.0

5.8

AMNH B 8730 (Gáffron Collection) MHP 78.2.220 (W) (Wiener collection) UPMP 33278 (Uhle 3546) UPMP 33277 (Uhle 3545) Belcore and Obando 1970: Lám. I, II MVB VA 48802 (van den Zypen) Lavalle and Lang 1978:95 EMB n/n (Data missing) Private Collection – DE (no data) MAL 446 (No data)

1421

Marquez ** (South corner), Chillón Valley Marquez ** (South corner), Chillón Valley Maranga ***Huaca 18, Rimac Valley Vicinity of Lima *

Panchalahuaca * Chancay Valley Huando * Chancay Valley Ancón

F

F

F

F

F

F

F

F

F

F

41.0

47.5

44.7

48.7

20.3

40.0

34.0

(25.4)

(24.3)

40.0

40.5

18.8

27.8

28.4

15.8

25.5

(17.6)

(12.0)

(19.5)

28.0

22.1

12.3

12.3

6.0

11.0

9.0

8.8

(10)

9.5

9.5

over 1000

760

(770)

over 2000 over 1000

130

120

Wgt (gr.)

Black slip + traces of white, red (pf?) Black

Black

Black

Black

Black slip

Grey-black; red pf paint on face Dark tan to black (patchy) Grey-black

Black (slip?)

Black

Black

Black + red, white post-fired paint Black

Black

Brownish-black slip

Black + red, white post-fired paint Black + red, white post-fired paint Black slip

Colour

M+ HM M+ HM M+ HM M+ HM

M

M

HM

M+ HM M+ HM M+ HM HM

M

M

M

M

M

M

M

M

H

H

H

H

H

H

H

H

H

H

H

H

S

H

H

H

H

2 at ears 2 at waist

2 at ears 2 at waist 2 at ears (others?) 2 at ears 2 at waist

2 at waist

2 at ears (others?) 2 at ears 2 at waist 2 at ears 2 at waist 2 below ears 2 at armpits 2 at waist

2 at waist

2 at ears 2 at waist (below) 2 at waist

n/a

2 at waist (below) 2 at waist (below) 2 at waist

2 at waist

Manufacture Air-holes

HM-M S-H

Arms broken

Head + chest fragment Arms broken

Body partly damaged Left arm damaged

Top of head damaged

Head (+ body fragment) Extensively damaged Hunchback

3

?

3

2x2

2x2

6

4

4

2x2

6

no

no

2x2

3

4

?

4

?

3

H'dr. Holes

Special Features

Probably a misreading for Pasamayo, Chancay, an area between Ancón and the Chancay valley. Pacasmayo is located on the North Coast.

777

2413

249

P551

502

P550

1467

1466

509

MAL 1885

574

Sub-Group 1.6.2B: Larger, mold-made, hollow and/or sitting figurines

1369

826

280

1387

1440

283

279

1636

Sub-group 1.6.2A: Medium sized, mold-made, mostly hollow figurines

No

See Source

Ramos de Cox 1971: Lám. V; O’Phelan 1971: 95-102

Lilien 1956: 252, Table 21, Pl. XIX i

Lilien 1956: 252, Table 21, Pl. XIX j

Lilien 1956: 251f, Table 21, Pl. XIX h.

Lilien 1956: 248f, Table 21, Pl. XIX c

Published

TABLE 34 (1) : CHANCAY SUB-GROUP 1.6.2: CUCHIMILCOS OF PHASES 3 AND 4 (CLASSIC AND LATE CHANCAY) IN BLACK OR BLACK-SLIPPED WARES

79

79

79

79

78

78

78

78

78

78

78

78

78

78

78

78

78

78

78

Plate

454

1

Source

Site

Sex H (cm)

W (cm)

Th (cm)

Measurements Wgt (gr.)

MEG 14634 Schatzmann coll. SAC 415 (No data) PMH 42.12.30/3546 (Lothrop)

Kennedy Easby 1966: no.537

PMH 46.77.30/6165 (Lothrop) PMH 46.77.30/6166 (Lothrop) MAL 3344

P549

1727

Hacienda Humaya * Huaura Valley Hacienda Humaya * Huaura Valley Pampa Doña Maria * Chancay Ancón

Probably Chancay Valley (see Discussion)

Central Coast

“Ancón ?”

F

F

n/i

F

n/i

66.5

(36.0)

14.0

21.0

13.3

6.9

(28.0)

(9.2)

23.0

(10.2)

3.7

(15.0)

9.0

15.4

6.0

BM 1920 10-13.7 (Gift Lockett) EMB VA 18952 (Baessler) Jijón y Caamaño 1949: 471, Lám. CIII. fig.5 1 Katz 1983: no.66

Marquez * Chillón Valley Maranga - Huaca III** Rimac Valley F

F

F

F

F

F

11.6

10.7

(10.9)

11.9

11.7

11.5

7.8

6.3

(7.5)

8.4

6.8

2.6

2.7

2.9

3.8

80

120

155

150

Black + white pf paint

Black + white, red, ochre pf paint Black + red, white post-fired paint Black + white, red, yellow pf incrust. Grey-black + red, white pf paint Black + red, white post-fired paint Black

Black slip

Black (slip?)

Grey-black

Black

Black

Colour

The figurine is in fact the fourth not the fifth object from the left, the third having been omitted.

P554

P553

500

14

563

1728

F

Sub-group 1.6.2C: Small, solid figurines, made of one mold or hand-made

MPCS n/n

827

Atypical

1745

781

115

Sub-Group 1.6.2B: Larger, mold-made, hollow and/or sitting figurines (cont.)

No

HM

HM

HM

1M

1M

M+ HM

HM

M

M

M

S

S

S

S

S

H

H

H

H

H

n/a (2 through arms)

n/a (2 through arms) n/a

n/a

n/a

2 at waist 1? at back

2 at shoulders

2 at waist

2 at ears

No

Manufacture Air-holes

HM-M S-H

Head, left leg damaged Head damaged

Identical pair found with 1725, 1726 (see Gr. 2.4.2)

3

no?

no

no?

3

3

3

Two sets of arms; lower part of body missing Arms and feet 2 restored?

Sitting hunchback; right hand broken Sitting 3 hunchback Sitting hunchback; arms broken

H'dr. Holes

Special Features

See Source

See Source

Lilien 1956: 248f, Table 21.

Lilien 1956: 248f, Table 21, Pl. XIXb.

See Source

2x2

3

3

Published

TABLE 34 (2): CHANCAY SUB- GROUP 1.6.2: CUCHIMILCOS OF PHASES 3 AND 4 (CLASSIC AND LATE CHANCAY) IN BLACK OR BLACK-SLIPPED WARES

79

79

79

79

79

79

79

79

79

79

79

79

Plate

455

Source

Site

Sex H (cm)

W (cm)

Th (cm)

Measurements Wgt (gr.)

Colour

MHP 32.108.5 (Gift Ber)

67

Pachacamac

Huacho * Huaura Valley

Huacho * Huaura Valley

F

n/i

F F

F

F

F

7.2

5.5

7.7 14.0

22.9

15.6

14.8

3.8

2.1

2.9 4.3

9.0

5.9

6.6

(4.7)

1.9

2.8

8.2

4.9

4.6

50

550

250

170

1

14.6 21.9 21.9 27.5

F F F F

Pisquillo Grande *** Grave 3, Chancay V.

20.0

14.9

16.5

9.3

5.8

8.8

16.2

14.5

10.0

9.7

4.0

3.6

6.5

7.8

590

660

270

100

170

(840)

Black, red on white Black, red on white Black, red on white

Black on white

Brown on yellow Brown on buff

Brown, cream (on red ?) 1 Black on white

Black, red on buff

Black on white

Black, white, red + p.f. red pigment Black on white Black on white ?

Black, white, red

Black, white, red

The caption reads “marrón y crema”, but these colours are applied on a red? background

9.7

F

Chimbote º º

12.1

F

22.8

21.0

Chancay Valley

F

1027

MNAA 38514 (confiscated) 2044 HMB 16-12017 (Gift Kelly) 195 MVH 49.2:42 (W. Timling) 834 MPCS - 89 Pg (3 )XVII (Horkheimer excav.)) b) Sitting 1076 MNAA 54664 (No data) 1077 MNAA 54707 (confiscated) 2250 PC6L

F

a) Standing P555 Lavalle and Lang 1982: 78

Sub-Group 2.2: Early Chancay Figurines with elongated head and extended arms

PC1L (No data)

EMB VA 48489 (van den Zypen) MVM G 1453 (Gáffron) EMB VA 48490 (van den Zypen) PC1M EMB VA 43397 (probably van den Zypen)

700

1292 C 147b

473

1220

357

Sub-Group 2.1: Early Chancay Figurines with elongated head and folded or absent arms

No

M

M

M

M

M

M

M

M

M+ HM?

M

M M

M

M

M

H

H

H

H

H

H

S?

H

H

S

H

H

H

H

Bag

No

No

Carried on back

Special Features

2 ears 2 at waist 2 at waist

2 at waist

2 ears, 2 at waist 2 through arms

1 under feet

2 at waist

no

2 through arms (others?)

Gravelot

Bag

Bag

Bag

No

Load on back chipped off Hunchback Bag – on hump ?

?

Bethlen [1986]: Workbasket no. 16

Published

Milla Batres 1975: F.273

See Source

No From Workbasket ? EMB VA 43378; associated with C 147a/sg,1.4.1B, C 147c/sg.6.1 (See Appendix 3) n/a: perforation Amulet from side to side 2 nose, 2 behind Sitting; Child upper arms legs broken (head missing)

2 at waist

2 behind upper arms 2 behind upper arms 1 at waist (left)

Manufacture Air-holes

HM-M S-H

TABLE 35: CHANCAY SUB-GROUPS 2.1 AND 2.2: EARLY FIGURINES WITH ELONGATED HEAD

80

80

80

80

80

80

80

80

80

80

80 80

80

80

80

Plate

456

Source

Peru....Jahrtausende no.10.2 MVM G 216 (Gáffron) Katz 1983: no. 85 Private Collection – DE (No data) PC1M (No data) MAI 7/2751 (H.S.Geary coll.) UPMP 33283 (Uhle 3551) BMNY 44.99-8 (No data) MArtL A 60.5 (No data) MVV 68608 (S.S “Donau”) Katz 1983: no. 86

P556

1

Vicinity of Lima, Rimac Valley Marquez ** South Corner, Chillón Valley

Miraflores Chancay Valley Lauri * Chancay Valley Hda Vizquiera, Pisquillo Chico * Chancay Valley

Copacabana * Chillón Valley Caqui, Chancay Valley

Lauri *** Grave 8 Chancay Valley Ancón **

Pisquillo Grande *** Grave 4, Chancay V. Lauri *** Grave 4 Chancay Valley Lauri *** Grave 4 Chancay Valley Lauri *** Grave 4 Chancay Valley

Site

F

F

F

n/i

F

n/i F

F F

F

F

n/i

F

F

n/i

F

n/i

n/i

F

n/i

n/i

F

Sex

26.5

14.5

21.0

21.6

22.2

19.9 16.7

50.0

57.0

50.6

51.2

58.0

9.3

9.1

8.7

9.2

9.1

11.8

13.3

14.1

12.2

H (cm)

13.0

8.9

12.1

11.1

(9.5)

14.2 9.6

28.5

27.5

26.5

23.8

27.5

(4.7)

(4.4)

(4.1)

6.3

5.4

5.8

8.0

8.2

8.4

W (cm)

8.9

5.5

5.7

5.7

8.0

8.2 5.0

12.5

16.0

15.0

16.5

3.2

2.3

2.3

3.5

3.4

3.9

3.9

3.7

3.6

Th (cm)

Measurements

260

390

420

600 300

ca 2600

ca 3000

60

80

90

170

170

170

Wgt (gr.)

Black on cream

Black on white

Brown on yellow white (Worn surface)

Black on white

Black on white Black on white

Reddish brown on cream Black on cream

Black on yellowy white Brown on yellow white Traces of reddish brown on white Traces of brown on white Reddish brown on cream Black on white

Black on white

Traces of black on yellow white Purply brown on pinky white Purply brown on pinky white Brown on white

Colour

M

M

M

M

M

M M

M+ HM

M+ HM M+ HM

HM?

M+ HM M

M

M

M

M

M

M

H

H

H

H

H

H H

H

H

H

H?

S

S

S

S

H

H

H

H

2 ears 2 at waist

2 at waist

2 above waist

2 at waist 2 ears 2 at waist 2 at waist

2 above waist

2 at ears 2 above waist 2 ears 2 above waist

No

n/a (1 head, 2 arms) n/a

n/a

n/a

2 at waist

2 at waist

2 at waist

2 at waist

Manufacture Air-holes

HM-M S-H

Right arm broken

Right arm broken, left folded

Right arm broken

2 sets of arms

Gravelot

Gravelot with 840, below, sitting

Gravelot with 836/1.4.1B

No

Bag

Bag?

Bag Bag

Bag

Child

Child

Bag

Bag?

No

No

No

Bag

No

No

No

Carried on Back

Special Features

Published

See Source

Lilien 1965: 241ff, Table 19, Pl. XVII l

See Source

See Source

Benson and Conklin 1981: 121; Lavalle and Lang 1982: 73, left

Cornejo Guerrero 1985: Appendix 2, p.26 Haas 1986: no.123

Cornejo Guerrero 1985: Appendix 2, pp.21-22.

No. LXIV, written on this specimen, is not listed by Cornejo under Lauri Grave 4. However Cornejo’s description of no. LIV fits this figurine (1985:App.2, p.22).

P559

1313

886

1893

1470

1283 1832

P557 2414

1232

PC3L

MPCS-99 La(4)LXIV 1 (Horkheimer excav.) MPCS-91 La(8)X (Horkheimer excav.) EMB VA 6401 (Reiss and Stübel) EMB VA 24142 (Baessler) AMNH 41.2.7358 (Gift L. Drimmer) AMNH 41.2.7357 (Gift L. Drimmer) MAL 3379

MPCS-88 Pg (4) XXXI (Horkheimer excav.) MPCS-99 La(4)XLVIII (Horkheimer excav.) MPCS-99 La(4) LII (Horkheimer excav.)

849

585

1377

1379

350

237

844

845

837

838

835

a) Standing figurines

No

TABLE 36(1): CHANCAY SUB-GROUP 2.3: CLASSIC BLACK-ON-WHITE FIGURINES WITH ELONGATED HEAD (CHANCAY PHASES 3, 4)

82

82

82

82

82

82 82

81 81

81

81

81

81

81

81

81

81

81

81

81

81

81

Plate

457

Source

EMB VA 18693 (Baessler) SWMLA 491 P-3643 (Purchase H.L.Jesson) AMNH B8187 (Gáffron) AMNH B8181 (Gáffron) AMNH 41.2.6854 (Gift L. Drimmer) BCM 763’73 (No data) EMB VA 18692 (Baessler) EMB VA 4118 (Macedo) Cornell University Dept.of Anthropology no.986.1.51 (No data) Cornell University Dept.of Anthropology no.986.1.53 (No data) MNAA 55620 (confiscated) MHP 32.108.56 (Gift Ber) BCM A 785-1982 (Acqu. at auction)

1433

5

BM 1960 AM 73 (No data) AMNH 41.0.4707 (Gift H.A.J. Wilkins)

SAC 398 SAC 356 57 MHP 84.3.3 ( Soc. de Géographie) 1797 MAI 5/1751 (Th.G.Sullivan Coll.) 1028 MNAA 55033 (confiscated) 1906 PC2NY

1135

72

1030

C149

C148

499

472

1149

1386

1368

1367

1937

399

Site

13.3

n/i

F

16.5

14.2

27.0

F

F

14.2

F

Cuzco º º

50.5 21.5 12.2

18.5

19.9

19.7

12.5

15.1

18.3

20.9

7.7

10.4

10.3

10.0

15.1

17.7

H (cm)

Ancón

F

F

F

n/i

n/i

F

F

F

n/i

F

F

F

F

Sex

F F n/i

Ancón

Chancay *

Chancay *

Peru

Peru

Chancay *

a) Standing Figurines (cont.)

No

(6.3)

11.2

7.5

14.4

8.3

21.5 12.3 8.7

11.2

(8.0)

12.3

10.5

10.6

5.8

6.5

6.2

6.3

10.1

11.1

W (cm)

6.3

5.7

4.9

8.8

5.4

13.5 5.0 4.8

5.5

6.6

6.4

5.5

6.4

2.2

3.6

3.0

3.5

6.3

6.9

Th (cm)

Measurements

260

150

880

190

140

340

270

430

70

120

100

70

260

370

Wgt (gr.)

Black on white

Black on white

Black on white

Brown on yellow white Black on white (+ traces of red) Black on white Black on white Brown on yellow Brown on yellow Black on white

Black on white

Black on white

Black on white

Black on white

Black on white

Black on white

Black on white

Black on white

Black on white

Black on white

Black on white

Colour

M

M

M

M

M

M M M

M

M

M

M

M

M

M

M

M

M

M+ HM M+ HM M

H

H

H

H

H

H

H

H

H

H

H

H

H

S

H

H

H

H

2 at waist

2ears 2 at waist 2ears 2 at waist 2 ears 2 at waist 2 ears 2 at waist 2 at waist

2 ears 2 at waist

2 above waist

2 above waist

2 at waist

2 at waist

n/a (1 through head) 2 at waist 1 umbilicus 2 at waist

2 at waist

2 at waist

2 at waist

2 at waist

Manufacture Air-holes

HM-M S-H

Arms missing

Both arms broken

Left arm broken

Bag

No

No

No

Bag Bag

Incised hair

Bag

Bag

Bag

Bag

Bag?

No

No

No

Child

Child

Carried on Back

Special Features

Published

Lilien 1956: 256ff, Table 23, Pl. XX v

TABLE 36(2): CHANCAY SUB-GROUP 2.3: CLASSIC BLACK-ON-WHITE FIGURINES WITH ELONGATED HEAD (CHANCAY PHASES 3, 4)

83

83

83

83

83

83 83 83

83

83

83

82

82

82

82

82

82

82

82

82

82

Plate

458

Source

MPCS-82 La 4 XLIX (Horkheimer excav.) MNAA 54997 (confiscated) EMB VA 3866 (Macedo)

SAC 349 2415 Private Collection – DE (No data) 393 EMB n/n (No data) 1535 UPMP 34145 (Uhle 1360-purch,) 392 EMB VA 19422 (Baessler) SAC 208 SAC 278 2322 PC6L 1126 MM 09707/53 (Wellcome) 486 EMB 18672 (Baessler) 1996 HMB 4-6494 (Uhle excavations) 1918 M/UCLA X73-54 (No data) 1732 PMH F 635 (Tryon collection) 1603 FMC 1390 (Dorsey excavation) 1159 CMN n/n (W.J.Thompson) 62 MHP 78.2.217 (Gift Wiener) 1187 MVM G 510 (Gáffron) 410 EMB VA 48488 (van den Zypen) 139 MRAHB AAM 46.7.198 (Grenade/Melendez) 1340 AMNH B 4009 (Bandelier)

366

1078

840

b) Sitting Figurines

No

F

Chancay * (or Ancón ?)

17.6 14.6 16.4 8.8

n/i n/i n/i n/i

Huacho Huaura Valley Huacho * Huaura Valley Huacho Huaura Valley San Isidro de Sayán * Huaura Valley

13.7

n/i

ca 20.0 17.3

19.8

Ancón

F

F

15.1

n/i

“Ancón or vicinity”

16.7

n/i

Lauren (Lauri) *** Grave B2, Chancay V.

25.5 13.0

12.0

10.5 8.8

F n/i n/i F F

(6.5) 6.8

9.8

n/i

3.6

6.0

10.2

(10.0)

(9.5)

13.6

(12.8)

7.3

11.2

(7.2)

6.3

6.7 10.7

10.1 15.7

F F

11.9

(7.3)

16.6

11.7

W (cm)

4.2

8.6

5.5

7.5

6.9

7.2

10.0

5.3

6.2

7.8

13.0

4.0 6.0

4.4

4.1 6.2

5.0

6.6

11.2

6.7

Th (cm)

Measurements

14.0 15.0

15.8

20.3

16.4

H (cm)

F F

F

n/i

F`

Sex

Chancay *

Quintay * Huaura Valley Chancay *

Chancay

Lauri *** Grave 4 Chancay Valley

Site

90

300

230

400

280

90

100 290

710

350

Wgt (gr.)

Black, red on buff Buff

Brown on yellow Black, red on white Black on white

Black on white

Black on white

Black on white

Brown on yellowy white White

Black on white

Black on white Black on white Black on white Black on white

Black on white

Brown on cream Black on white

Brown, red on cream Brown on yellow white Black on white Black on white

Brown on white

Colour

M

M

M

M

M

M

M

M

M

M+ HM M

M+HM M

M

M

M M

M M

M

M

M

H

H

H

H

H

H

H

H

H

H

H

H H

H

H H

H

H

H

2 at level of upper arms 1 back of head 1 through hollow base

2 behind arms (above waist) 2 waist

2ears 2 at waist 2 ears, 2 at waist, 1 anus 2 ears 2 at waist 2 behind arms (at back) 2 at waist

2 at waist

2 ears 2 at waist 2 at waist

2 at waist

2 at waist 2 at waist

2 ears 2 at waist 2 at waist

2 at waist

Manufacture Air-holes

HM-M S-H

Bag

Bag?

Bag?

Bag Bag

Bag

Bag

Bag

Bag

No arms

No arms

2 sets of arms

Right arm broken

Right arm broken

Bag

Bag

Bag

Bag

Bag?

Bag

Bag

Right arm Bag broken Gravelot (see Bag 1997, 1998/1.4.1A, etc; Bag

Left arm broken Hunchback

Both arms broken

Gravelot with 837, 838, 854 above

Carried on Back

Special Features

Published

Lilien 1956: 241ff, Table 19, Pl. XVII q

Lilien 1956: 241ff, Table 19, Pl. XVII p.

Cornejo Guerrero 1985: App.2, p.21

TABLE 36(3): CHANCAY SUB-GROUP 2.3: CLASSIC BLACK-ON-WHITE FIGURINES WITH ELONGATED HEAD (CHANCAY PHASES 3, 4)

85

85

85

85

85

85

85

84

84

84

84

84 84 84 84

84

84 84

84 84

83

83

83

Plate

459

BM 1954-W AM.5.172 Wellcome collection MNAA 41603 - Coll. from Hda Marquez PC4L M/UCLA X73-251 (Gift Kuhn) MAI 21/2277 (No data) SWMLA 202 3G-48 (Gift S.+A. Newman) SIW 147996 (No data)

25

Ancón

Vicinity of Trujillo º º

Hacienda Marquez *, Chillón Valley

Chancay

Site

n/i

F

F

n/i F

F

F

Sex

33.8

28.7

9.9

19.7 17.2

21.0

18.5

H (cm)

17.5

17.7

5.6

12.0 10.4

12.2

12.7

W (cm)

9.5

9.1

4.6

7.0 6.2

7.2

5.6

Th (cm)

Measurements

840

120

520 400

550

310

Wgt (gr.)

Brown on pinky white Black on white

Black on white

Black on white Black on white

Black on white

Brown on buff

Colour

M + HM

M

M

M M

M

M

H

H

H

H H

H

H

2 nose, 1 mouth, 2 ears 2 at waist

2 at waist

2 at waist 2 at waist

2 through chest

2 through chest

Manufacture Air-holes

HM-M S-H

7

1223

1754

BM 40.9-30.36 (No data)

AMNH B 8190 (Gáffron) AMNH B 8204 (Gáffron) AMNH B 3693 (Bandelier) MVM G 1456 (Gáffron)

1337

1385

Source

No

Truxillo (sic) º º

Medialuna * Chillón Valley Medialuna * Chillón Valley Ancón *

Site

n/i

F

n/i

F

n/i

Sex

13.7

13.2

(6.7)

10.4

9.5

H (cm)

(5.4)

6.4

3.4

6.5

7.2

W (cm)

6.8

(6.6)

2.2

4.7

5.1

Th (cm)

Measurements

150

160

Wgt (gr.)

Pinky buff

Traces of black, white? on red

Terracotta (surface rubbed) White on terracotta Pale terracotta

Colour

M+ HM

F:M B:HM M

HM

M

H

H

S

S

S

2 waist

2 at shoulders

n/a

n/a

n/a

Manufacture Air-holes

HM-M S-H

TABLE 38: CHANCAY SUB-GROUP 2.5.1: FIGURINES WITH ELONGATED HEAD IN RED WARE (PHASES 3, 4)

1447

1935

1859

1064 1919

1029

Source

No

Sitting; arms extended forwards Sitting; arms missing

Sitting

Carries bag

Hunchback

Special Features

Published

Published

Lilien 1956: 270, Table 25, Pl. .XXI f

Lilien 1956: 256ff, Table 23, Pl. XX t

Lilien 1956: 256ff, Table 23, Pl. XX r

Carries child

No

No

No No

No

No

Carried on Back

Special Features

TABLE 37: CHANCAY SUB-GROUP 2.4: BLACK-ON-WHITE FIGURINES WITH ELONGATED HEAD OF THE CHANCAY-HUAURA ("JECUAN") SUB-STYLE

86

86

86

86

86

Plate

86

86

85

85 85

85

85

Plate

460

EMB VA 3867 (Macedo) HMB 16/921 (Gift Mrs. Ch. Uhle) AMNH 41.2.6887 (Gift L. Drimmer) MAL 2693

281

Caqui, Chancay Valley

UPMP 34150 (Uhle 1435) MVV 129273 (Popper)

Quintay ** Huaura Valley F

F

F

F

F

F

F

F

F

F

F

F

Sex

15.0

(7.6)

(6.5)

(5.7)

9.1

8.5

8.5

6.7

9.4

18.3

16.9

11.1 sitting

H (cm)

9.9

4.9

(4.0)

3.5

5.3

5.1

5.1

3.9

5.6

9.3

8.8

(6.1)

W (cm)

6.1

2.3

2.0

2.2

2.2

2.2

3.2

5.5

5.4

3.8

Th (cm)

Measurements

100

250

Wgt (gr.)

Grey-black + red , white pf paint Black + red, white p.f. paint Black + red, white p.f. paint Black + red pf paint Black + red pf paint Black + red, white p.f. paint Black + red pf paint F: Grey-black B: Terracotta

Black + red, white p.f. paint Black + red, white p.f. paint Greyish black

Black

Colour

PMH 42.28.30/4459 (Lothrop)

LMS M32 430 L (Purchase Lüders)

SAC 362

MVM G 220 (Gáffron) PC6L

1747

2190

767

1242

2270

Source

No

Huacho, Huaura Valley

Chancay

Site

F

F

M

M

M

Sex

48.0

30.0

49.5

61.5

47.8

H (cm)

32.0

18.5

20.0

36.5

27.0

W (cm)

9.5

11.1

17.5

Th. (cm)

Measurements

870

Wgt (gr.)

Black, reddish brown , white

Red.brown on buff + pf red, black White (dirty)

Dark brown, redbrown, white on terracotta Reddish brown

Colour

M+ HM

M+ HM M

HM

HM

2 waist

n/a

(2 through chest) (2 through chest)

(2 through chest)

n/a (2 through chest) n/a (2 through chest) n/a (2 through chest)

2 ears , 2 below waist 2 ears , 2 below waist 2 waist

2 ears

H

H

H

H

H

2 ears

2 at waist

2 waist, 1 through headdress (conch) 2 ears

2 ears, 2 nose 2 head-dress

Manufacture Air-holes

H

S

S

S

S

H

H

H

H

HM-M S-H

M

1M

1M

1M

1M

M

M

M

M

Manufacture Air-holes

HM-M S-H

TABLE 40: CHANCAY SUB-GROUP 2.6: SPECIAL FIGURINES WITH ELONGATED HEAD

1306

1495

SAC 310

P562

P561

1726

1725

555

1376

Ancón

Chancay

Marquez *, Chillón Valley

Site

Pisquillo * Chancay Valley PMH 46.77.30/6163 Hacienda Humaya * (Lothrop) Huaura Valley PMH 46.77.30/6164 Hacienda Humaya * (Lothrop) Huaura Valley Reiss and Stübel (1880-1889): Ancón ** vol. III, Pl.91, fig.10 Reiss and Stübel (1880-1889): Ancón ** vol. III, Pl.82, fig.2

EMB VA 48694 (van den Zypen)

282

2064

Source

No

Pregnant woman?

Hunchback

Special Features

Top of head, arms? broken Top of head broken off Bag on back

Identical pair found with 1727, 1728 (see 1.6.2)

Bag on back

Bag on back

Published

Lapiner 1967: no.48

Lilien 1956: 265, Table 24, Pl. XXIId

Published

See Source; Lilien 1956:248ff, Table 21; Kaulicke 1983: Abb.64.10 See Source; Kaulicke 1983: Abb.64.10

Lilien 1956: 249ff, Table 21, Pl.XIX a

Sitting hunchback with hump on the chest; right arm broken Bag on back

Special Features

TABLE 39: CHANCAY SUB-GROUP 2.5.2: FIGURINES WITH ELONGATED HEAD IN BLACK OR BLACK SLIPPED WARE

Plate

87

87

87

87

87

87

87

87

87

86

86

86

Plate

461

MHP 78.14.2 (Gift d’Orbigny) UPMP 34146 (Uhle 1361-purch.) MAL 1958

BM 11.17.08 (No data) MHP 87.126.10 (Gift Quiros) Private Collection DE (No data) EMB VA 48858 (van den Zypen) MAL 3368

Source

2046

61

488

1538

1537

C150

1103 1319

1916

1995

1991

HMB 4-6372 (Uhle excavation) HMB 4-6495 (Uhle excavations) M/UCLA x73-254 (Gift Kuhn) MAL 3846 MVV 68617 (S/S “Donau”) Cornell University Dept. of Anthropology 986.1.50 (Gift Frank) UPMP 34147 (Uhle 1362-purch.) UPMP 34148 (Uhle 1363) EMB VA 48716 (van den Zypen) MHP 84.3.4 (Gift Société de Géographie) HMB 16-12018 (Gift Mrs. W. Kelly)

SAC 354 408 EMB VA 48715 (van den Zypen) 1314 MVV 68605 (S/S “Donau”) 593 MAL 2959

539

1464

508

1102

376

2416

66

44

No

Chancay

Quintay * Huaura Valley Quintay * Huaura Valley Marquez * Chillón Valley Ancón

Lauri *, Chancay Valley

Macas * Chillón Valley La Mina Grave A1*** Chancay Valley Lauri Grave B 2 *** Chancay Valley

Marquez * Chillón Valley

Quintay * Huaura Valley Caqui *, Chancay Valley

near Lima Rimac Valley Caqui *, Chancay Valley Ancón

Chancay

Site

n/i

n/i

n/i

n/i

n/i

n/i

F F

F

n/i

F

F

n/i

F n/i

F

F

F

F

F

n/i

F

F

Sex

10.8

13.1

10.3

(9.0)

9.5

16.9

(15.3) 24.2

14.9

11.2

13.0

13.7

6.9

15.0 9.7

8.1

13.2

16.8

18.0

(17.4)

11.5

(16.7)

14.8

H (cm)

8.1

6.9

6.1

(6.0)

7.3

(10.6) (20.0)

(12.8)

(6.2)

(8.7)

10.1

6.4

14.5 6.3

7.9

12.0

16.5

(14.0)

(12.0)

(16.5)

15.1

W (cm)

5.0

7.9

5.2

5.3

5.2

13.2

9.2

(5.5)

6.6

6.5

3.6

8.0 4.4

5.1

7.5

8.8

8.8

9.0

8.5

Th (cm)

Measurements

140

230

150

120

over 1000

260

120

100

420

Wgt (gr.)

Yellow-white + brown Yellow-white + brown

Black on white

Black on white

Black on white

Black on white

Black on white Black on white

Black on white (traces) Pinky-white + brown Black on yellowy-white Black on white

Black on white Yellowy-white + brown Black on white

Black on white

Black on white

Black on white

Yellow-white + brown Black on white

Yellow-white + brown Yellow-white + Reddish-brown

Colour

TABLE 41(1): CHANCAY SUB-GROUP 3.1: THE BLACK-ON-WHITE “WITCH”

M

M

M

M

M

M

M M

M?

M

M

M

M

M

M

M

M

M

M

M

M

H

H

H

H

H

H

H H

H

H

H

H

H

H

S

H

H

H

H

H

H

2 at waist

2 at waist

2 at waist

2 at waist

2 at waist

2 at waist 2 at ears 2 at waist 2 at waist

2 at waist

2 at waist

2 at ears 2 at waist 2 at ears 2 at waist 2 at waist

2 at ears, 2 at waist 2 at waist

2 at ears 2 at waist 2 at ears 2 at waist 2 at ears 2 at waist 2 at ears 2 at waist n/a

2 at ears 2 at waist 2 at waist

Manufacture Air-holes

HM-M S-H

Left lug broken Lugs broken off Left lug broken Lugs , arms, damaged

Left arm broken

Published

Lilien 1956: 241f, Table 19, Pl. XVII r, s.

Lilien 1956: 241ff, Table 19.

Lilien 1956: 241ff, Table 19, Pl. XVII t

Gravelot (see 1990/1.4.1B) Arms broken; Gravelot (see 1997, 1998/sg 1.4.1A) Right lug broken

Left lug broken Standing?

Hunchback; left arm broken

Arms damaged Left arm broken No lugs

Lugs damaged

Special Features

89

89

89

89

89

89

88 88

88

88

88

88

88

88 88

88

88

88

88

88

88

88

88

Plate

462

Source

2256

1894

2271

1081

885

BMNY 28.46.85 (No data) PC6L

MArtL 0755 (no data) MNAA 41641 (confiscated) PC6L

MAL 3932

Atypical

590

SAC 355 SAC 375 2417 Private Collection – DE (No data) C151 Cornell University Dept. of Anthropology 986.1.52 (Gift Frank) P565 Lavalle and Lang 1982:40-41 2255 PC6L

No

Lauri * Chancay Valley

Site

38.0 19.0

n/i n/i

F

F

F

n/i

n/i

25.0

13.1

31.0

15.8

11.4

20.1

16.3

n/i

n/i

16.0 23.5 22.0

H (cm)

F n/i n/i

Sex

19.5

10.2

21.0

8.5

6.7

17.1

10.0

27.0

11.0 16.5

W (cm)

4.4

7.0

6.6

14.2

8.5 16.0

Th (cm)

Measurements

240

300

300

780

Wgt (gr.)

Yellow-white + brown Yellow-white + brown Yellow-white + brown + pf

Black on white (traces) Black on white

Yellow-white + Reddish-brown Yellowy-white + Reddish-brown

Black on white

Black on white

Black on white Black on white Black on white

Colour

TABLE 41(2): CHANCAY SUB-GROUP 3.1: THE BLACK-ON-WHITE “WITCH”

M+ HM ?

M+ HM M+ HM ? M

M

M

M

M

M

M M

H

H

H

H

H

H

H

H

H

H H

2 above the waist

2 at waist

2 above the waist

No

2 at waist

2 at ears (others?) 2 at ears 2 at waist 2 at ears 2 at waist

2 at waist

2 at waist 2 at waist

Manufacture Air-holes

HM-M S-H

Standing

Standing

Standing

Special Features

See Source

Published

90

90

90

90

90

89

89

89

89

89 89 89

Plate

463

1

Source

Site

Sex

EMB VA 48768 Chuquitanta * (van den Zypen) Chillón Valley BCM A 789-1982 (Wellcome Foundation)

Marquez **(South Huaca), Chillón Valley Ancón *

Marquez * Chillón Valley Pachacamac

Marquez * Chillón Valley

n/i

n/i

n/i

F

F

F

F

F

PMH 42.12.30/3545 (Lothrop) MAL 3365

Chimu Archive, Santa Monica, Cal. 1

Caqui *, Chancay Valley

Central Coast

C152 is said to be at MNAA, Lima.

C152

Atypical

591

1744

F

F

F 20.0

16.1

14.2

(13.7)

18.3

17.7

19.2

21.2

19.7

(12.3)

23.5

13.5

(15.5)

H (cm)

Sub-group 3.2.2: The Chancay “witch” in black ware

1143

375

388

1475

329

334

254

411

F

328

Pachacamac

F

SAC 361

EMB VA 49685 (van den Zypen) EMB VA 48691 (van den Zypen) EMB VA 48689 (No data) EMB VA 48608 (van den Zypen) EMB VA 49686 (van den Zypen) UPMP 33275 (Uhle 3555) EMB VA 18858 (Baessler)

n/i

SAC 256

Sub-group 3.2.1: The Chancay “witch” in red ware

No

14.1

13.5

(9.4)

(10.1)

(10.8)

(14.7)

15.2

15.8

13.3

(8.9)

18.1

13.0

(13.3)

W (cm)

11.0

8.5

5.3

7.8

11.0

11.9

11.9

11.6

12.7

9.0

15.0

8.7

10.0

Th (cm)

Measurements

550

720

720

580

1200

Wgt (gr.)

Black

Black + p.f. white, red paint

Black

Terracotta

Dark terracotta

Terracotta

Pale red + white?

Terracotta

Dark brown

Terracotta + white Terracotta + white Terracotta

Terracotta?

Red + White

Colour

HM?

M+ HM ?

M

M

M

M+ HM ? M+ HM ? M+ HM ? M+ HM ? M+ HM ?

HM?

M

M

M

H?

H

H

H

H?

H

H

H

H

H

H

S

H

H

2 ears (others?)

2 at waist

2 at waist

2 at ears 2 below waist

No

2 at ears 2 at waist 2 at ears 2 at waist 2 at ears 2 at waist 2 at shoulders 2 at waist 2 at shoulders 2 at waist 2 above waist

n/a

2 at ears (others?) 2 at ears 2 at waist

Manufacture Air-holes

HM-M S-H

TABLE 42: CHANCAY SUB-GROUP 3.2: THE CHANCAY “WITCH” IN RED AND BLACK WARE

Standing; Folded arms

Wrapped in textiles

Left lug damaged; arms missing Lugs, arms damaged Standing; Right arm damaged

Left lug missing

Left lug missing Lugs missing; Left arm, right foot broken Right lug missing Right lug, arms broken Hunchback

Special Features

Published

91

91

91

91

91

91

91

91

90

90

90

90

90

90

Plate

464

EMB VA 32996 (Seler)

EMB VA 18698 (Baessler) MHP 64.86.104 (Gift R. d’Harcourt)

498

482

PC6L MHP 64.86.106 (Gift R. d’Harcourt) BCM A199-1982 (Wellcome Coll.)

2314 85

1

EMB VA 3844 (Macedo)

8.0 9.3

n/i n/i

n/i

n/i

n/i n/i

15.4

10.0

8.0 4.9

9.0

n/i

Ancón *

11.5

n/i

Chancay

9.2 9.7

n/i n/i

13.9

11.9

F

n/i

12.5 8.8

7.3

F? n/i

n/i

8.6

12.7

n/i n/i

9.9

15.9

n/i n/i

13.0 11.3

12.6

H (cm)

n/i n/i

n/i

Sex

Ancón

Marquez * Chillón Valley

Ancón *

Chancay *

Marquez * Chillón Valley Sierra Gorda, Ancón *

Marquez * Chillón Valley Ancón *

Chancay

Site

(9.6)

5.0

7.0 4.0

5.4

6.0

5.8 5.6

7.8

(3.8) (5.1)

8.2

9.0 5.6

6.6

6.9

6.4

(8.8)

9.0 7.6

8.7

W (cm)

Th (cm)

6.1

3.6

1.9

3.8

3.8 4.4

5.2

2.5 3.3

3.7

3.0 2.8

2.3

4.3

3.2

4.8

4.0 2.8

4.8

Measurements

Examined in display case ; 2 Included here because of tunic and necklace.

471

Atypical

1138 2

SAC 423 63 MHP 78.2.218 (Gift Wiener) 2200 LMS 52943 (Purchase Sutorius) 2313 PC6L

MRAHB AAM 46.13.2 (Purchase 1946)

149

SAC 369 273 EMB VA 48713 (van den Zypen) 1383 AMNH B 8192 (Gáffron coll.) SAC 324 SAC 265

83

SAC 273 497 EMB VA 48711 (van den Zypen) 1704 PMH 54741 (Gift Bucklin 1887) 481 EMB VA 48714 (van den Zypen) 1606 1 FMC 5758 (Dorsey)

Source

No

TABLE 43(1): CHANCAY GROUP 4: THE “ATTENDANT”

110

30

130

220

150

50

100

110

100

170

Wgt (gr.)

Black on white

Black on white

Black, red on cream Black on white Black on white

Terracotta Brown on yellowy white Yellowy white

Black on white Reddish brown on white Brown on buff

Black on white

Grey

Black on white

Terracotta +black, white (traces) Black on white

Black on pinky white Black on white

Black on white White (dirty)

Black on white

Colour

M

M

HM M

M

M+HM

M

M+HM

M

1M

M+HM

M

M

M

M

M

M

H

H

S

H

H

H

H

H

S

S

H

H

H

H

H

H

2 at waist

2 at waist

2 behind upper arms 2 behind upper arms n/a Not recorded

2 above waist

2 at waist

2 at waist

n/a

n/a

2 below waist

2 at waist

2 at waist

2 at waist

2 at waist

Manufacture Air-holes

HM-M S-H

Arms damaged

Folded arms?

Arms folded downwards

Arms broken Arms broken?

Hunchback Arms broken Hunchback

Right arm broken

Special Features

Lilien 1956: 256ff., Table 24, Pl. XX s.

Dorsey 1894: Pl. XLIV, fig.111-lower row, 2nd from left.

Lilien 1956: 241 ff., Table 19, Pl. XVII u.

Published

92

92

92 92

92

92

92 92

92

92 92

92

92 92

92

92

92

92

92

91 91

91

Plate

465

PC6L

C153

Width of shield

MAL 1633

532

Lauri *, Chancay Valley Caqui*, Chancay Valley

Site

n/i (F?) n/i

Sex

13.7

11.6

H (cm)

(6.0)

6.2

W (cm)

1

MAL 3175 SJW 412526 (Gift Norris) EMB VA 38513 probably van den Zypen

603 1450

Chuquitanta * Chillón Valley

Lauri * Chancay Valley “Probably Chancay Valley” near Lima

Site

F?

n/i n/i

n/i

Sex

Workbaskets are listed in Appendix 3:Gravelots

275

EMB VA 19017 (Baessler)

PC5L (no data)

1069

C 144c

Source

No

9.1

10.0

12.2 9.6

12.4

H (cm)

5.6

5.7 6.6

4.8

W (cm)

2.5

5.5 5.7

4.0

Th (cm)

Measurements

70

140 180

110

Wgt (gr.)

230

9.3

110

1

Wgt (gr.)

4.6 1

Th (cm)

Measurements

TABLE 44: CHANCAY GROUP 5: PERSONAGE WITH HELMET

1

MAL 3348

Source

533

Associated

No

TABLE 43(2): CHANCAY GROUP 4: THE CHANCAY “ATTENDANT”

Greyish-black + red, white pf paint

Black on white Brown on yellow

Black on white

Colour

Reddish brown on yellowy white Brown on pinky cream Brown on pinky cream

Colour

1M

M+ HM

HM+M M

HM

n/a

n/a

n/a

S

H?

H? H

S

n/a

n/a (2 at waist, from side to side) No 2 waist

Manufacture Air-holes

S

S

S

HM-M S-H

HM

HM

HM

Manufacture Air-holes

HM-M S-H

From Workbasket 1 associated with C 144a /sg. 1.1.4 and C 144b /sg. 1.2.4

Carries a monkey on his back Sitting Sitting

Special Features

Left arm missing

Special Features

Bethlen [1986] : Workbasket no. 10

Published

Published

93

93

93 93

93

Plate

93

93

93

Plate

466

Source

Site

PC6L

MAL 3215

MAL 3216

MNCP no.? (Ancón excavations) MHP 11.21.191 (Berthon collection)

UPMP 33247 (Uhle 139) FMC 5808 (Dorsey excavation) EMB VA 48725 (van den Zypen) EMB VA 6408 (Reiss and Stübel) EMB VA 6409 (Reiss and Stübel)

2259

554

565

872

1491

Huaca El Palmo Marquez * Chillón V. Chancay * (or Ancón?)

Ancón 1 **, (T.587? 1)

Miraflores * Chancay Valley Pisquillo * Chancay Valley

Lambayeque º º

n/i

n/i

n/i

F

(13.1)

5.7

9.8

10.4

10.0

9.5

F n/i

7.2 9.2

(7.0)

9.5

H (cm)

F F

F

F

Sex

(7.0)

4.1

5.1

5.9

7.5

8.0

6.0 5.9

5.3

6.6

W (cm)

1

SIW 140973 (Gift Billings) FMC 168803 (Kroeber 1588/555) UPMP 33948 (Uhle 868d)

EMB VA 6410 (Reiss and Stübel) EMB VA 43396 (probably van den Zypen)

Cemetery A, Marquez ** Chillón V. Caudevilla* Chillón Valley

“Mountain near Lima”

Pachacamac

Ancón **

Ancón **

Marquez * Chillón Valley Ancón **

F

F

F

n/i

F

F

F

F

n/i

6.9

7.2

10.9

(11.0)

(9.2)

10.7

(13.5)

17.4

12.0

9.2

4.6

(4.2)

(6.3)

(5.5)

(6.0)

9.0

11.6

8.6

(5.1)

2.2

2.1

(2.5)

(2.2)

2.3

2.6

4.5

3.2

1.4

70

90

Wgt (gr.)

Traces of white slip on terracotta Traces of white slip on terracotta Traces of buff slip

Traces of white slip on terracotta Traces of buff , (+black?) on terracotta Traces of white slip on terracotta Traces of white slip on terracotta?

Yellowy-white (front only) Buff

White on red

Cream + reddish-brown Pinky-buff + dark brown Cream + reddish-brown Yellowy-white + brown

Black on pinky white Brown on cream

Cream + reddish-brown Yellowy-white + Grey-black Black on white Brown on white

Colour

It is not quite clear whether the Ancón 1 grave number written on this specimen reads T. 587.

1496

1583

1457

C147c

240

339

229

372

1593

F

4.9

1.8

2.5

1.7

2.5 1.9

2.3

2.2

Th (cm)

Measurements

Sub-group 6.1b: "Spooks" showing traces of white slip on terracotta

81

SAC 341 1847 MAI 20/3459 (No data) 2312 PC6L

12

AMNH B 8182 (Gáffron) BM 1920 10-13.18 (No data)

1372

Sub-group 6.1a: Black-on-white "spooks"

No

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM HM

HM

HM

S

S

S

S

S

S

S

S

S

S

H

S

S

S

S

S

S S

S

S

n/a

n/a

n/a

n/a

n/a

n/a

n/a

n/a

n/a

n/a

2 at back of neck

n/a

n/a

n/a

n/a n/a (2 through chest) n/a (2 through chest) n/a

n/a

n/a

Manufacture Air-holes

HM-M S-H

TABLE 45(1): CHANCAY GROUP 6: SMALL, CRUDE, HAND-MADE, SOLID FIGURINES ("SPOOKS")

Left arm, left leg missing Hunchback?

Bethlen [1986]: Workbasket no. 16

Reiss and Stübel 1880-1887:vol.III, Pl.91,.4; Kaulicke 1983: Abb.64.4; Haas 1986: no.109 Haas 1986: no.108

Lilien 1956: 270, Table 25, Pl. XXI e

Lilien 1956: 270, Table 25, Pl. XXI g.

Lilien 1956: 270, Table 25, Pl. XXI l

Published

Arms and Haas 1986: no.107 legs missing Arms and legs missing; From Workbasket EMB VA 43378, associated with C147a/sg,1.4.lB and C 147b/sg.2.1. (See Appendix 3) Arms broken

Head damaged; right leg broken

Legs missing

Carries child

Top of head damaged

Special Features

95

95

95

95

95

95

95

94

94

94

94

94

94

94

94

94

94 94

94

94

Plate

467

Source

Site

Sex H (cm)

W (cm)

Th (cm)

Measurements

BM 1909.12-7.5 (No data) BM 1909.12-7.6 (No data) UPMP 33249 (Uhle 138) EMB VA 48884 (van den Zypen) AMNH B 8207 (Gáffron) EMB VA 39064 (van den Zypen) MPCS-86 La 1 ' XVI (Horkheimer excav.)

13

South corner , Marquez ** Chillón V.

Marquez * Chillón Valley

Marquez * Chillón Valley Ancón *

Peru

Chimbote º º

near Lima *

n/i

n/i

F

F

n/i

F

n/i

F

F

2

MVH 30.49:45 (from Karl May Museum, Dresden) MHP 30.19.329 (Capitan Bequest) EMB VA 37406 (van den Zypen)

Ancón

F

Lauri ** Grave 1 2 Chancay Valley

F

n/i

F

n/i

n/i

F

F

Pachacamac

Huaca El Palmo Marquez ** Chillón V. Chavarillo * Chancay Valley Peru

F

8.3

(10.8)

(12.4)

(11.2)

9.3

4.9

10.9

8.9

(5.3)

(7.1)

6.0

10.2

11.1

(6.7)

8.7

7.3

9.5

5.5

6.4

This figurine is a surface find from the area of Lauri Grave 1

365

519

163

833

452

1423

349

1497

11

F

Sub-group 6.2 : Miscellaneous red ware "spooks"

1489

152

385

84

405

AMNH B 8185 (Gáffron) EMB VA 48712 (van den Zypen) MHP 64.86.108? (Gift d’Harcoourt) EMB VA 48710 (van den Zypen) MRAHB AAM 5450 (No data) UPMP 33284 (Uhle 3552)

EMB VA 37404 (van den Zypen) SWMLA 326G-112 (Acqu. C.F Lummis) PC1L

1380

699

1940

363

5.3

7.3

(6.7)

(6.3)

(4.9)

2.9

(5.2)

(5.0)

(3.8)

(3.6)

4.7

(4.7)

7.8

(4.4)

(5.0)

5.1

4.9

4.2

(3.6)

1.6

2.1

(2.8)

3.5

(2.0)

1.3

2.7

2.0

2.2

2.0

1.4

3.2

3.2

2.2

2.1

2.3

2.3

1.3

1.2

Sub-group 6.1b: "Spooks" showing traces of white slip on terracotta (cont.)

No

30

30

140

60

80

Wgt (gr.)

Traces of black on terracotta

Light brown

Dark terracotta

Dark terracotta

Terracotta

Terracotta

Pale terracotta

Dark terracotta

Dark terracotta

Dark terracotta

Buff (dirty)

Buff on red

Traces of white slip on terracotta Grey-buff

Grey-buff

White slip

Traces of white slip on terracotta Traces of white slip on terracotta White slip

Colour

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

S

S

S

S

S

S

S

S

S

S

S

S

S

S

S

S

S

S

S

n/a (2 through armpits) n/a

n/a (2 through armpits)

n/a

n/a (2 through chest) n/a

n/a (2 through armpits) n/a (2 through armpits) n/a (2 through armpits) n/a

n/a (holes at waist not through) n/a (2 through chest) n/a

n/a

n/a

n/a (2 through breasts) n/a (2 through chest) n/a

n/a

Manufacture Air-holes

HM-M S-H

TABLE 45(2): CHANCAY GROUP 6: SMALL, CRUDE, HAND-MADE, SOLID FIGURINES ("SPOOKS")

Pointed head

Arms missing

Feet broken

Left leg broken

Arms broken

Special Features

Lilien 1956: 270, Table 25, Pl. XXI k.

Lilien 1956: 270, Table 25.

Lilien 1956: 270, Table 25, Pl. XXI h.

Lilien 1956: 270, Table 25, Pl. XXI m.

Published

96

96

96

96

96

96

96

96

96

96

95

95

95

95

95

95

95

95

95

Plate

468

Source

Site

AMNH B 7927 (Gáffron) MAL 3364

1373

P.11053

558

Inventario vol. IX or X, pp. 5-7

AMNH B 8165 (Gáffron) UPMP 3324 (Uhle 135)

1374

1473

Lujan Davila Fig. A

C154

La Huaca, nr Huaral * Chancay Valley Ancón 1, T. 852 ***

Cuzco º º

Cerro El Palmo ** Marquez, Chillón V. Chuquitanta * Chillón Valley Huaca El Palmo, Marquez ** Chillón V.

Sub-group 6.3: Blackware "spooks!"

No

n/i

F

F

F

n/i

F

Sex

6.8

5.6

5.5

13.6

7.3

4.5

H (cm)

4.2

3.9

4.0

(7.1)

5.4

3.5

W (cm)

1.2

1.7

3.3

2.7

1.0

D (cm)

Measurements Wgt (g)

Black

Dark grey

Black

Black

Grey-black

Grey-black

Colour

HM

HM

HM

HM

HM

HM

S

S

S

S

S

S

n/a (2 through chest) n/a (2 through chest)

n/a

n/a

n/a (2 through chest) n/a

Manufacture Airholes

HM-M S-H

TABLE 45(3): CHANCAY GROUP 6: SMALL, CRUDE, HAND-MADE, SOLID FIGURINES ("SPOOKS") Published

Lilien 1956: 252ff, Table 22, Pl. XXd.

Lilien 1956: 270. Table 25, Pl.XXId

Gravelot with P.11055/sg.1.2.4

Arms broken

Special Features

96

96

96

96

96

96

Plate

469

1339

425

547

1472

1477

1252

70

1582

323

EMB VA 48885 (van den Zypen) AMNH B 8418 (Gáffron)

MHP 84.310 (Société de Géographie) MHP 32.108.46 (Gift Ber) EMB VA 6412 (Reiss and Stübel) FMC 168684 (Kroeber 1588/427 BM +1275 (No data) MVM G 234 (Gáffron) UPMP 33286 (Uhle 3554a) UPMP 33282 (Uhle 3550) MAL 3353

56

517

Source

No

Marquez ** South corner Chillón Valley Marquez ** South corner Chillón Valley Lauri * Chancay Valley Chavarillo * Chancay Valley Caudevilla * Chillón Valley

Marquez, Cemetery A ** Chillón Valley

Ancón **

Ancón

Ancón

Site

n/i

F?

n/i

n/i

n/i

n/i

n/i

F

n/i

F

F

Sex

(13.3)

15.5

12.7

(10.0)

(8.7)

13.5

10.8

(11.0)

7.5

10.4

8.7

H (cm)

12.3

(7.5)

5.8

(6.6)

(3.3)

8.7

(4.7)

(8.2)

(3.8)

(5.4)

5.0

W (cm)

(9.0)

7.0

5.8

(4.3)

(4.2)

10.2

6.0)

(5.3)

4.0

7.5

4.9

Th (cm)

Measurements

180

460

Wgt (gr.)

TABLE 46: CHANCAY GROUP 7: THE ANTHROPOMORPHIC MONKEY

Pale terracotta + brown Dark red

Black on white

Dark terracotta

Yellowy-white + brown Yellowy-buff + traces of black Traces of white slip Traces of white slip Terracotta + brown Terracotta + black Grey

Colour

HM + MM?

M

HM

HM

F: M B: HM HM?

M

M

M

M

M

H

H

H

S

H

H

H

H

H

H

H

2 at waist (in the back) 2 at waist

2 above waist

n/a

2 at ears 2 at waist 2 behind upper arms 1 middle of back

2 behind upper arms 2 at ears 2 at waist 2 behind upper arms 2 at waist

Manufacture Air-holes

HM-M S-H

Published

Bjerregaard 2010: Fig. 4.

Reiss and Stübel 1880-1887: vol. III, Pl.91.13; Kaulicke 1983:Abb.64.13; Haas 1986:no.124

Sitting; Traces of broken off lugs on back of head?

Sitting; arms, legs broken Arms, legs broken

Sitting

Sitting

Legs broken

Sitting; arms broken

Hunchback

Special Features

97

97

97

97

97

97

97

97

97

97

97

Plate

470

1

Source

Site

Sex H (cm)

W (cm)

Th (cm)

Measurements

EMB VA 4871a (Macedo) EMB VA 4871b (Macedo) EMB VA 4869 (Macedo) MVM G 1444 (Gáffron) EMB VA 4873b (Macedo) MAI 16/144 (E. P. Lott Coll.) MVM G 1463 (Gáffron) MVM G 1464 (Gáffron)

Ancón ?

Pachacamac

Ancón

F

n/i

n/i

F

F

F

F

5.9

6.8

15.7

14.4

35.0

27.4

12.4

2.9

3.5

7.3

9.7

17.0

15.8

7.3

2.9 0.7 1 1.3 0.55 1

0.50.6 1 1.0 1

0.91.6 1 9.0

6.8 (0.61.1 1)

UMAAC 61.210 Gift Miss B. Simmonds EMB VA 18745 (Baessler 1899)

MCP n/n

Chancay

F

F 9.8

F: 24.0 B: 23.7 18.3

17.2 16.6 11.4

0.71,3 1

5.2

1.4 1

30

710 550 490

40

70

75

200

Pinky white

Terracotta

Dark Terracotta

Buff + traces of white Buff + red, black Pale terracotta + traces of white Terracotta

Pale terracotta + traces of powdery white

Colour

EMB VA 28059 (van den Zypen) EMB VA 28060 (van den Zypen) MAL 3019

Huacho

Chancay F

13.5

11.9 5.3

6.4 4.8

6.3 205

55 Grey

Buff + traces of white

Lavalle and Lang 1982: 86 EMB VA 4872a Macedo EMB VA 4872b (Macedo)

Thickness of ceramic

M 15

M 14

P567

F 12.4

24.0

9.4

21.0

6.2 (0.6 – 1.6 1) 130

118

Pale terracotta + traces of powdery white

Molds for Chancay Sub-group 2.3: Classic figurines with elongated head and extended arms

MP 1

M 10

M9

Molds for Chancay Sub-group 2.1: Early figurines with elongated head and folded arms

M 16

M 25 a, b MP 8

890

50

Wgt (gr.)

ca 2000

Molds for Chancay Sub-group 1.4: Classic cuchimilcos with extended arms

M 29

M 28

M 35

M8

M 30

M 17

M 13

M 12

Molds for Chancay Sub-group 1.1: Early cuchimilcos with folded arms

No

TABLE 47 (1) : CHANCAY MOLDS

Complete Mold (+ Plaster cast of figurine = EMB VA 4872c)

Frontal Mold (back mold also shown)

Positive Mold

Complete Mold

Back Mold

Positive Mold

Complete Mold

Complete Mold

Frontal Mold

Frontal Mold

Mold Matrix?

Frontal Mold

Complete Mold (+ Plaster cast of Figurine)

Manufacture Air-holes

HM-M S-H

Sitting; carries child on back

Right arm missing

Published

See Source

Hodnett 1978: 14.

No arms; holes drilled to tie broken mold together

Special Features

99

99

99

99

99

99

98

98

98

98

98

98

98

98

98

98

98

Plate

471

2

1

Source

Site

MVH 63.30:4 (Gift D. Claussen) EMB VA 28011 (van den Zypen) EMB VA 28012 (van den Zypen) MVM G 3780 a, b (Gáffron) MVM G 1460 (Gáffron)

Chancay

n/i

n/i

n/i

1

16.3 16.7 13.9

13.5

11.1

H (cm)

MAL 1307 (No data) HMB 16-1025 a, b (acquired by Uhle)

La Mina, Chancay

n/i

HMB 16-1028 (acquired by Uhle)

n/i

16.3

11.5 11.0

16.3

Female genitals incised on the outside of the mold!! Thickness of ceramic

M 39

Mold for an unaffiliated figurine, probably Chancay

M 40 a,b

M 20

Molds for Chancay Group 5: "Personage with Helmet"

M 26 a, b M 27

M7

M6

M1

F

Sex

Molds for Chancay Group 4: The "Attendant"

No

TABLE 47 (2) : CHANCAY MOLDS

11.6

7.5

7.9

7.2 7.1 9.7`

7.8

7.2

W (cm)

6.0 ca 1.0 2

6.5

c 1.0 2

3.1 3.5 5.2 1.4 2

0.7 0.8 2 5.9 0.6-1.22

Th (cm)

Measurements

210 215 280

190

155

Wgt (gr.)

Pale grey

Pale terracotta + traces of white Pale terracotta + traces of white

Buff

Buff

Pale terracotta + traces of white

Pale terracotta + thin white slip

Colour

Frontal Mold

Complete Mold

Frontal Mold

Frontal Mold

Complete Mold

Complete Mold

Frontal Mold (+ Plaster cast of Figurine)

Manufacture Air-holes

HM-M S-H

Sitting

Sitting

Special Features

Published

99

99

99

99

99

99

99

99

Plate

472

1

EMB VA 25864 (Baessler) MAL 2973

M/UCLA x 72-807 (Gift Mullican) EMB VA 35154 (van den Zypen) EMB VA 6407 (Reiss and Stübel) BM 1909.12.7.3 (No data) Deletaille +Lapiner [n/d]: no.75 MHP 78.3.42 (Macedo) MHP 30.19.295 (Gift Capitan)

C156

1920

MNAA 45244 (No data)

1084

Pisquillo Chico * Chancay Valley

Chancay

“Lima -Ancón”

Ancón **

Ancón *

Caqui * Chancay Valley

Chuquitanta, Chillón V.

Marquez, Chillón V.*

Site

Workbaskets listed in Appendix 3/Gravelots

612

MNAA m/1673 (Old museum coll.) MAL 1813

1024

510

75

P566

17

338

465

600

EMB VA 36030 (van den Zypen?)

Source

C145b

No

F

n/i

F

F

F

F

F

F

F

F

F

n/i?

F

Sex

14.0

(14.1)

21.0

32.3

18.5

26.0

(8.9)

14.0

11.4

21.0

14.9

(5.5)

10.5

H (cm)

7.1

(7.4)

17.0

22.1

12.5

18.8

5.9

(6.6)

6.8

12.8

10.2

2.6

3.9

W (cm)

4.0

(4.1)

6.5

9.5

5.5

3.0

4.6

4.0

7.1

4.5

Th (cm)

Measurements

150

780

520

100

540

300

Wgt (gr.)

Traces of black on terracotta Greyish black

Traces of brown on white Yellow-white + traces of red paint on face Terracotta

White

Terracotta

Dark terracotta + white, black Black

Terracotta + white White

Colour

M

M

M

M+HM

M +HM M+HM

M

HM

F: M B:HM F: M B:HM M

M

M?

H?

H

H

H

S?

S

S

H

H

H

No (2 through arms)

2 waist 1 between legs 2 waist

1 mouth

No

1 vagina 1 anus n/a (2 waist, side to side) n/a

1 mouth

2 at upper arms

Manufacture Air-holes

HM-M S-H

TABLE 48: LATE INTERMEDIATE PERIOD UNAFFILIATED FIGURINES (PROBABLY CHANCAY RELATED)

Arms broken

Bethlen [1986]: Workbasket no. 15 (EMB VA 25810)

Bethlen [1986]: Workbasket no. 23 (EMB VA 36028)

Published

See Source

Reiss and Stübel 1880-1887; Vol. III, Pl.91.6 Kaulicke 1983: Abb.64.6; Haas 1986:no.127

From a workbasket 1, associated with C145a (Chancay sg.1.2) Said to be hunchback From a workbasket 1, sitting [associated with a stone figurine]

Special Features

100

100

100

100

100

100

100

100

100

100

100

100

100

Plate

473

1

MNAA 781 (No data) EMB VA 49689 (van den .Zypen) UPMP 26962 (Uhle 1944) MVH B 1083 (acquired before 1870)

EMB VA 39055 (van den .Zypen) EMB VA 48803 (van den .Zypen) UPMP 26958 (Uhle 1664) EMB VA 39053 (van den .Zypen)

1020

468

FMC 7406 (Uhle 907) MAI 6/5083 (George Collection)

UPMP 26960 (Uhle 1584)

MSH n/n

EMB VA 49690 (van den .Zypen) EMB n/n

1614

1524

2339

433

MSH 12311 MAI 16/262 (E.P.Lott collection)

MAM 3915 (no data) PMH 46.7730/6519 (Lothrop) EMB VA 39054 (van den .Zypen)

C165 1814

2383

Vista Allegre * Rimac Valley Pachacamac *

"Ecuador?"

Maranga *** Huaca III Gr. XCIV or XCV Huallamarca ** Pachacamac

Pachacamac

Huallamarca ** (rubble) Pachacamac *

Pachacamac ** Gravefield I

Coast of Peru

Lurín Valley * 2

Pachacamac ** Gravefield I

Pachacamac ** Gravefield I Pachacamac *

near Lima *

Pachacamac *

Pachacamac ** Gravefield I

Pachacamac *

Site

n/i

n/i

F F

n/i

F

F

n/i

F

F

F

F

F

F

F

F

n/i

n/i

F

Sex

20.4

13.8

13.8 18.1

7.7

23.1

14.0

16.5

17.6

17.8

18.0

19.0

17.0

23.8

14.9

13.6

17.4

19.5

16.3

H (cm)

10.0

9.0

9.2 12.4

4.3

11.6

(9.2)

10.0

11.2

(12.0)

14.5

14.0

12.9

(9.8)

9.8

11.6

11.4

12.3

W (cm)

6.0

4.4

4.8 7.0

2.3

6.6

6.1

(6.3)

5.8

6.0

6.5

7.0

6.0

6.0

7.6

6.7

6.5

D (cm)

Measurements

The painted area only reaches down to the top of the legs. 2 See Discussion

427

1715

Jijón y Caamaño 1949: Fig.38

P568

333

1808

UPMP 26959 (Uhle 1943)

1480

290

1517

505

198

1468

423

Source

No

450

220

520

380

460

460

760

230

250

540

430

430

Wgt (g)

Red + bl., wh

Terracotta1 + Black, white? Terracotta + black, white, red Terracotta + black, white Terracotta + black, white

Orange1 + black, white, dark red Terracotta + dark red, white Red + black, white Terracotta + black, white, orange Black, white, red

Orange1 + black, white

M+ HM

Orange1 + black, white Terracotta + Brown, white ?

HM

HM

HM

HM M

M+ HM? HM

M

M+ HM?

M+ HM M+ HM

M+ HM? HM

M+ HM? M

HM?

HM?

M+ HM? HM?

H

H

H

H H

S

H

H

H

H

H

H

H

H

H

H

H

H

H

H

2 behind shoulders 2 behind shoulders

2 at neck

2 at neck 2 at neck

n/a (2 at neck, side to side)

2 at neck

2 at neck

2 at shoulders

2 behind neck

2 at shoulders

2 at shoulders

2 behind shoulders 2 at armpits? (damaged)

2 behind upper arms 2 at shoulders

2 behind shoulders; ears?

2 at shoulders

2 at shoulders

2 at shoulders

Manufacture Air-holes

HM-M S-H

Terracotta + black, white, red Orange + black, white

Orange1 + black, white Terracotta + black, white Black

Orange + black, cream Terracotta + black, white, red Black

Colour

TABLE 49(1): LATE MH-EARLY LIP FIGURINES FROM THE RIMAC AND LURIN VALLEYS: YCHSMA GROUP 1

Right arm broken

Eroded surface

Gravelot Lower body missing

Right leg broken Lugs on back of head broken

Special Features

Lilien 1956: 189-192; Table 13; Pl.XIVl

(Museo de Sitio Huallamarca on-line catalogue)

See Source

Uhle 1903: 42, Pl.8, fig.4; Lilien 1956: 189-192; Table 13; Pl.XIVn,o

Lilien 1956: 189-192; Table 13; Pl.XIVq

Lilien 1956: 189-192; Table 13; Pl.XIVm

Lilien 1956: 189-192; Table 13; Pl.XIVr

Lilien 1956: 189-192; Table 13; Pl.XIVp

Published

102

102

102

102 102

102

102

102

102

102

101

101

101

101

101

101

101

101

101

101

101

Plate

474

AMNH B 501 (Bandelier excavations) MHP 14.24.52 (Gift Dr. Vergne)

EMB VA 39061 (van den .Zypen) BM +1276 (Gift Grenwell 1879) EMB VA 39052 (van den .Zypen) EMB VA 39057 "?" (van den Zypen) UPMP 29451 (Uhle 1621)

1427

353

1514

424

449

35

Atypical

513

1584

Jijón y Caamaño 1949: Fig.32 FMC 169173 (Kroeber 1588/958

MHP 11.21.219 (Collection Berthon)

Source

P569

91

No

Pachacamac ** Gravefield I

Pachacamac*

Pachacamac*

Pachacamac*

Pachacamac

Maranga *** Huaca III, Gr.XLII Maranga *** (Aramburu) Mound 15 Pachacamac **

Pachacamac *

Site

F

n/i

n/i

n/i

F

n/i

n/i

F

n/i

Sex

(11.3)

10.6 (12.4) 17.2

15.2

16.7

17.6

19.2

17.9

10.6

H (cm)

7.2

4.5 (12.3) 9.3

6.9

8.9

12.3

(12.4)

10.9

(6.6)

W (cm)

2.8

5.0

4.4

3.8

5.9

6.8

6.9

5.5

4.6

D (cm)

Measurements

350

360

Wgt (g)

Grey + black, white, dark red Black, cream, red Pale terracotta + black, white? Cream + black, red, white Orange + grey, white

Terracotta + black, grey, white Terracotta + black, white

"Black, white, red" Grey-black, white, red

Terracotta + black, white, red

Colour

HM

HM

M?

M+ HM HM?

M+ HM HM

M+ HM

HM

S

H

H

H?

H

H

H

H

H

n/a (2 through chest)

2 at neck

2 at shoulders

2 behind neck

2 at neck

2 behind shoulders

2 at armpits

2 behind neck

2 at armpits

Manufacture Air-holes

HM-M S-H

TABLE 49(2): LATE MH-EARLY LIP FIGURINES FROM THE RIMAC AND LURIN VALLEYS: YCHSMA GROUP 1

Lugs on back of head Lugs on back of head Attached to reed litter Left arm broken Nose damaged Lower body missing

Gravelot

Arms broken (lifted to head?) Gravelot

Special Features

Lilien 1956: 239, Pl. XVI r, s.

Lilien 1956: 189-192; Table 13; Pl.. XIVs

Lilien 1956: 189-192; Table 13

See Source

Published

102

102

102

102

102

102

102

102

102

102

Plate

475

Source

Site

Sex H (cm)

W (cm)

Th (cm)

Measurements Wgt (gr.)

Colour

2334 2331 2332 2333

2335

1382

704

2236 702

C157

2345

2338

2360 2214

2218

2216

2215

P574

2323

El Sauce, ** San Juan de Lurigancho Pedreros Cajamarquilla *** (from a grave) Cajamarquilla *** T VI Cajamarquilla *

MP 2.0017 MSPuru 457 (Italian Excavations) MSPuru TVI-1964-16 (Italian Excavations) AMNH B 3415 (A. Bandelier) MSPuru n/n San Juan de Pariachi, Ate-Vitarte, Rimac V** MSPuru "esp 25" ditto ** MSPuru n/n ditto ** MSPuru n/n ditto ** MSPuru n/n ditto **

MN 5045 (confiscated) J. Abanto excavation

Huallamarca ** (rubble)

Huallamarca ** Huallamarca **

Huallamarca **

Huallamarca **

Huallamarca **

Huaca Pucllana **

Huaca Pucllana **

Maranga, ** Huaca I Assoc. with burials XII to XV. Maranga ** Huaca " La Luz " (Pando) T.35 Maranga ** Huaca La Luz (Pando) Huaca Pucllana **

Huaca Pucllana, Museo de Sitio no. 44364 Flores Espinoza 1981: fig.3 MSPuru n/n (Excav. Jimenez Borja) MSPuru HPA 2.1471 (Excav. Jimenez Borja) MSPuru HPA 2926 (Excav. Jimenez Borja) MSHua n/n MSPuru HPA 2.1473 (Excav. Jimenez Borja) MSHua n/n

O'Phelan 1971: 95f no.409 O'Phelan 1971: 95f nos.203, 25 Flores Espinoza 1981:Fig.1

P571

P572 a, b P573

Jijón y Caamaño 1949: Fig. 72

P570

F

n/i

F

F

F

F

F

F F

F

F?

F

F

F

F

F

F

(8.8) (6.5) (6.1) (10.8)

(10.5)

7.3

11.2

(11.0) 14.6

15.4

24.0

14.0

16.0 (20.0)

(17.0)

(14.0)

19.5

a) ca 15.0 b) 8.0

18.0

(6.1)

3.7

6.4

(8.5) 8.9

6.3

15.6

(9.2)

(8.5)

(11.0)

9.2

11.5

2.4

3.2

5.7

11.0

80

300

Grey Terracotta Terracotta + white Terracotta

Pale Terracotta

Terracotta + cream Terracotta + traces of black Terracotta + traces of black Dark buff

Terracotta + black, white, red Terracotta

Cream + brown

Pale Terracotta Terracotta

Black with white p.f incrustations? Terracotta + Black, cream? Terracotta + Black, white Terracotta

Dark red + white

Cream on dark brown

Terracotta

1M 1M 1M 1M

1M

1M

HM

HM? HM

1M

M

M

M M

HM?

HM?

HM?

M

M

1M

1M

S S S S

S

S

S

S H

S

H

H

H H

H

H

H

H

H

S

S

n/a (2 through chest) n/a

n/a 2 at neck

n/a

2 at neck

2 at neck

2 behind upper arms 2 at waist

2 behind upper arms

2 at neck

n/a (2 through chest)

n/a

Manufacture Air-holes

HM-M S-H

Ychsma Sub-Group 2.1A: Figurines with certain or fairly reliable provenances from the Rimac Valley

No

See Source

Published

Head and body; arms, legs missing Body and legs Head Head Head and upper body

Sitting

Head and upper body New no. 13085 arms broken Sestieri 1963: fig.32; Narváez 2004: 321. Narváez 2004: 322. Gravelot

Elongated head; damaged Elongated head; Sitting, carries child in the back

See Source

See Source; Ramos de Cox 1971:Lám.IV,left See Source; Ramos de Cox 1971:Lam. IV, centre, right See Source; A.M Mejía Rusconi 1994: La resurección de las huacas, El Commercio 27 Feb. 1995. Lima Flores Espinoza 1981: Fig.2.

Sitting; Elongated head Head, lower body damaged Elongated head, damaged Head missing

Found together Sitting

Special Features

TABLE 50 (1) YCHSMA FIGURINES SUB-GROUP 2.1: LIP AND LH FIGURINES WITH PROVENANCES FROM THE RIMAC VALLEY

Chancay Ph. 3-4? YTard B YTard B YTard B YTard B

Inca

YM A

YTard A YM B?

YTard B

YTemp B

YTard B

YM A YM A

YM A

YTemp B

YTemp B

YM BYTard A YTard B

YM BYTard A

YTard A

YTard B

Date

103 103 103 103

103

103

103

103 103

103

103

103

103 103

103

103

103

103

103

103

--

103

103

Plate

476

1

(cm)

(cm)

(gr.)

1

1772

1773

1

Vista Allegre, Rimac Valley * Puruchuco ** Behind building MSPuru 149 Puruchuco – Midden near llama pen ** MP n/n Huaquerones ** MSPuru n/n La Puruchuca** MSPuru 157 (Excavation Rinconada de la Jimenez Borja?) Molina, T.80 *** Proyecto Armatambo Armatambo ** 102 Proyecto Armatambo 002 Armatambo ** Proy. Armatambo 0027 Armatambo ** (Daniel Guerrero) Proyecto Armatambo 002 Armatambo ** Proyecto Armatambo 002 Armatambo ** Proyecto Armatambo 002 Armatambo ** Proyecto Armatambo Armatambo ** s/n Sector Inca/Surface Proy. Armatambo 0047 Armatambo ** Sector B/ Capa C Proyecto Armatambo s/n Armatambo ** Sector E/22/Nivel 2 AMNH B 1135 Surco *** (Bandelier excavations) (Armatambo) AMNH B 1134 Surco *** (Bandelier excavations) (Armatambo) AMNH B 1136 Surco *** (Bandelier excavations) (Armatambo) AMNH B 1137 Surco *** (Bandelier excavations) (Armatambo) AMNH B 1138 Surco *** (Bandelier excavations) (Armatambo) AMNH B 1139 Surco *** (Bandelier excavations) (Armatambo) AMNH B 1140 Surco *** (Bandelier excavations) (Armatambo) AMNH B 1142 Surco ** (Bandelier excavations) (Armatambo) AMNH B 1177 Surco *** S/8 (Bandelier excavations) (Armatambo)

PMH 46.77.30/6522 (Lothrop) MSPuru n/n

1772 to 1778 were found together in a shrine

1436

1771

1778

1

1777

1

1776

1775 1

1774 1

1

2213

2212

2208 2207 2209 2211

2206 2210

2205

2235 2330 701

703

1110

1664

F

F

F

F

F

F

F

F

F

F F F F

F

F

F F

F

F

F

(8.7)

25.5

(20.2)

21.5

21.3

26.5

29.5

(25.0)

37.5

(10.0)

(10.5)

(8.5) (9.0) (11.5) (9.5)

(7.0) 18.0

13.0

(7.0) (4.0) 17.8

(14.2)

(4.2)

(9.0)

6.4

(15.6)

(11.5)

(12.2)

11.5

(15.7)

(22.0)

(25.0)

(27.0)

(8.5)

(6.5)

(7.0) (6.0) (9.0) 5.4)

(5.9) 9.0

(ca. 7.0)

(6.8) 1.8 12.2

(7.0)

(3.1)

(5.0)

3.5

14.8

11.4

10.9

11.2

14.4

17.0

18.0

17.0

5.7

(2.3)

(2.7)

over 1000

640

over 1000 over 1000

(500)

Black + red, white pf incrustations Traces of white on terracotta Traces of cream slip

Black - eroded

Black + red, white pf incrustations Black + red, white pf incrustations Black + white pf incrustations Black + red, white pf incrustations Black - eroded

Cream + brown

Terracotta + cream

Cream Cream Cream + brown Terracotta + cream

Terracotta Terracotta + cream

Terracotta + traces of white Terracotta Grey/black Terracotta + traces of dark brown Terracotta

Pale terracotta

Pale terracotta

1M

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM?

1M 1M M? 1M

HM HM

HM

2M? 1M HM

1M

HM?

1M

S

H

H

H

H

H

H

H

H

H?

S

S S H S

S S

S

S S H

S

S

S

Ychsma Sub-Group 2.1A: Figurines with certain or fairly reliable provenances from the Rimac Valley (cont).

(cm)

2 nipples

1 top of head

1 mouth

1 mouth

1 mouth

1 mouth

2 shoulders

2 shoulders

(2 through chest)

n/a (2 through chest) 2 through chest,

(2 through chest)

(2 through chest)

n/a 2 at neck

n/a (2 through chest) n/a (2 through chest) New no. 13087

Lilien 1956:250f, Table 21, Plate XIX e; Hyslop and Mujica1992: Fig.21 left. Sitting; Lilien 1956:250f, Table 21, head missing Plate XIX d. Sitting Lilien 1956:250f, Table 21; Hyslop and Mujica 1992:Fig.21 centre Sitting Lilien 1956:250f, Table 21; Hyslop and Mujica 1992:Fig.21 right. Elongated head; Lilien 1956: 248 ff, Table 21. Sitting Elongated head; Lilien 1956: 248 ff, Table 21, Sitting Pl. XIX f Elongated head; Lilien 1956: 248 ff, Table 21, Sitting Pl. XIX g Damaged face, Lilien 1956:267, Table 24, right leg restored? Plate XXII e Head fragment

Sitting

Head fragment

Body fragment Head missing Lower body fragment Top of head, legs missing Legs missing

Head fragment

Right leg broken

Left leg broken

Head fragment

Legs missing

Head missing

Legs missing

TABLE 50 (2): YCHSMA FIGURINES SUB-GROUP 2.1: LIP AND LH FIGURINES WITH PROVENANCES FROM THE RIMAC VALLEY No Source Site Sex Measurements Colour Manufacture Special Published H W Th Wgt HM-M S-H Air-holes Features

YTard B

YTard B

YTard B

YTard B

YTard B

YTard B

YTard B

YTard B

YTard B

YTard B

YTard B

YTard A YTard A YTard A YTard B

YM A? YM B

YTard B YTard B YM BYTard A? YM A?

YTard B

YM BYTard A? YTard A

Date

105

105

105

105

104

104

104

104

104

104

104

104 104 104 104

104 104

104

104 104 104

104

104

104

Plate

477

Source

Site

Sex H (cm)

W (cm)

Th (cm)

Measurements Wgt (gr.)

Colour

EMB VA 19413 (Baessler) EMB VA 19412 (Baessler)

466

343

EMB VA 19415 (Baessler )

SIW 262289 (Gift O. Holstein) AMNH 41.1.8106 (Gaffrón Collect.) EMB VA 48860 (van den Zypen) EMB VA 37399 (van den Zypen) MVB VA 63220 (Gift Gáffron) AMNH 41.2/5 Coll. Ch. Perpente EMB VA 37402 (van den Zypen) MAI 7/2748 (H.S. Geary coll.) MAI 7/2747 (H. S. Geary coll.) MAI 3/5790 (no data) EMB VA 19414 (Baessler)

419

347

1830

1835

1831

404

1378

317

270

403

1434

1454

Vicinity of Lima *

Vicinity of Lima *

Vicinity of Lima *

Vicinity of Lima *

Vicinity of Lima

Vicinity of Lima

Vicinity of Lima

Vicinity of Lima*

Santa Clara * Rimac Valley Rimac Valley

Vicinity of Lima *

"Near Lima"

Vicinity of Chosica, Rimac V. Lima (Country Club) *

F

F

F

F

F

F

F

F

F

F

n/i

?

F

F

20.3

20.0

23.4

24.9

21.5

25.0

16.3

9.3

(8.2)

(5.3)

14.7

9.1

(12.5)

(8.1)

8.1

8.4

9.3

10.7

8.2

8.8

6.1

4.4

(2.6)

(3.2)

(5.0)

(8.3)

(5.7)

4.0

3.8

5.5

6.3

4.5

3.5

3.8

2.0

(2.1)

(1.4)

5.5

2.5

3.8

(2.0)

400

420

500

770

580

590

220

50

White on red

Cream

White on red

White on red

White on red

Pale Terracotta

Pale brown

Yellowy white

Grey

Terracotta + traces of white Terracotta + traces of white Grey-black

Dark terracotta

Ychsma Sub-Group 2.1B: Figurines with unverifiable provenances from the Rimac Valley

No

1M

1M

2M

2M

1M

1M

1M

HM? 1M? 1M

1M

HM

M

M

HM

S

S

H

H

S

S

S

S

S

S

S

S

S

S

n/a

Published

Left leg broken Gravelot

Damage to head, Lilien 1956: 237ff, Table 17, legs Pl. XVI q. Double arms: extended arms broken Arms broken off

Legs missing

Special Features

n/a ( 2 through chest) n/a Elongated head (2 through chest) n/a ( 2 through chest) n/a ( 2 through chest) 2 ears, 1 mouth, 2 shoulders, 2 waist, 1 r. arm, 1 vulva, 4 in back 2 ears, 1 mouth, 2 shoulders, 2 arms, 2 waist, 1 vulva, 4 in back n/a

n/a ( 2 through chest) n/a

n/a

n/a ( 2 through chest) 2 at waist (side to side) n/a

Manufacture Air-holes

HM-M S-H

TABLE 50 (3) YCHSMA FIGURINES SUB-GROUP 2.1: LIP AND LH FIGURINES WITH PROVENANCES FROM THE RIMAC VALLEY

YTard B

YTard B

YTard AB?

YTard AB? YTard AB? YTard AB? YTard AB?

YTard A or B? YTard B?

YTard A

YTard A

YTard A

YTard A

YM A

Date

105

105

105

105

105

105

105

105

105

105

105

105

105

105

Plate

478

1

Source

Site

Sex H (cm)

W (cm)

Th (cm)

Measurements Wgt (gr.)

Colour

Manufacture Air-holes

HM-M S-H

Pachacamac ** (Temple of the Sun)

Pachacamac ** (Temple of the Sun)

Pachacamac ** Gravefield I Pachacamac ** (N/W of town) Pachacamac ** (N/W of town) Pachacamac ** surface Pachacamac ** (Temple of the Sun)

Pachacamac **

Pachacamac **

Pachacamac ** Mamacona, fill of terrace Feldham and Eeckhout Pachacamac ** 2004: Fig.2a Plaza III Feltham photo-archive Pachacamac ** Pyramid.III Feltham photo-archive Pachacamac ** Pyramid.III Feltham photo-archive Pachacamac ** Pyramid.III MP 2.0016 Pachacamac ** N/E :Puente Lurín MP 2.0023/5 Pachacamac ** (N/E): Surf. Midden, Puente Lurín Cemet. MP 2.0023/3 Pachacamac ** (N/E): Puente Lurín, Surface MP 2.0023/2 Pachacamac ** (N/E): Puente Lurín, Surface

AMNH B 935 (Bandelier Excavations) AMNH B 936 (Bandelier Excavations) UPMP 29452 (Uhle 1944a) UPMP 32181 (Uhle 2870) UPMP 32182 (Uhle 2871) UPMP 32549 (Uhle 1264) AMNH 41.1.8993 (Strong + Corbett Excav. no. 73/41A 1) AMNH 41.1.8991 (Strong + Corbett Excav. no.73/41A) AMNH 41.1.8992 (Strong +Corbett Excav. no.165/41A) MP 2.0018

(F)

F

F

F

F

F

F

F

F

(F)

F

n/i

F

F

F

n/i

n/i

1752 has the same specimen number as 1750

2240

2239

2231

2232

C160

C159

C158

P575

2237

1751

1750

1752

1494

1490

1509

1479

1425

1424

a. Miscellaneous Figurines from Pachacamac

(5.8)

(7.5)

(7.9)

(11.0)

(5.8)

(12.8)

(6.7)

(11.3)

(7.2)

13.8

(7.9)

7.2

6.0

(5.6)

(7.8)

(7.0)

(7.0)

(5.7)

(8.6)

3.2

7.2

3.2

6.7

(7.0)

2.5

2.8

(2.3)

(2.9)

1.8

2.8

2.2

2.9

(2.5)

2.0

1.8

240

50

40

Terracotta

Terracotta

Terracotta

Terracotta

Terracotta

Pale terracotta, speckled Grey

Terracotta

Terracotta + thin white slip (front only) Pale terracotta

Pale grey

Terracotta + traces of white Terracotta + traces of black, white Pale grey

Grey

Brown + traces of white ? Brown + traces of white ? Black

1M

1M

1M

1M

Mold

M?

1M

Mold

HM

1M

1M

1M

HM

1M

1M

1M

1M

1M

S

S

S

S

S

S

S

S

S

S

S

S

S

S

S

S

n/a ( 2 through chest) n/a ( 2 through chest) n/a ( 2 through shoulders) n/a ( 2 through chest)

n/a ( 2 through chest)

n/a

n/a (1 tbrough headdress, 2 through chest,) n/a ( 2 through chest)

n/a ( 2 through shoulders)

n/a (2 front to back at ears) n/a ( 2 through chest) n/a ( 2 through chest) n/a ( 2 through shoulders) n/a ( 2 through armpits) n/a

Ychsma Sub-Group 2.2A: Figurines with certain or fairly reliable provenances from the Lurín Valley

No

Body Fragment

Body Fragment

Body Fragment

Body Fragment

Head Fragment

Body Fragment

Legs missing

Body fragment

Head missing

Body fragment

Top of headdress broken off

Special Features

Published

New no. 13184

New no. 13092

New no. 13091

New no. 13632 Vallejo 2009: Fig.11

Lilien 1956: 252ff, Table 22

Lilien 1956: 252ff,Table 22.

Lilien 1956:252ff, Table 22.

Uhle 1903: 6,fig.87; Lilien 1956: 252, Table 22, Pl. XX g

Lilien 1956:252ff, Table 22, Pl. XX j Lilien 1956:252ff, Table 22, Pl. XX k Lilien 1956: 252ff, Table 22

TABLE 51 (1): YCHSMA FIGURINES SUB-GROUP 2.2: LIP AND LH FIGURINES WITH PROVENANCES FROM THE LURÍN VALLEY

YTard B

YTard B

YTard B

YTard B

YTard A?

YTard A?

YTard A?

YTard A?

YM A

YTard B

YTard B

YTemp BYM A? YTard B

YTard B

YTard A-B? YTard B

Inca

Inca

106

106

106

106

106

106

106

106

106

106

106

106

106

106

106

106

106

106

Plate

479

Source

Site H (cm)

Pachacamac ** (N/E): Midden, Puente Lurín Cemet. MP 2.0023/4 Pachacamac ** (N/E): Puente Lurín, Surface MP 2.0022 Pachacamac** Puente Lurín MP 2.0012 Pachacamac ** (Paredes Excavations) (Pyramid 1?) MP 2001 Pachacamac ** (Paredes Excavations) (Pyramid 1?) MP 2.0014 Pachacamac ** Makowski y Lizárraga Pachacamac ** 2011: Fig.1, right "Frente 2da muralla" MP 13529 Pachacamac ? MP 13530 Pachacamac ? MP 13698 Pachacamac ? MP 13699 Pachacamac ?

MP 2.0013

(F) (F) (F) (F)

(F)

F

(8.2) (8.3) (12.1) (12.2)

9.0

(9.0)

(13.5) (7.0)

(9.5)

1

Trin. 10, Zona A, Piso 2, Nivel 2 Trin.10 - Capa 5 – Niv.3

Trin.10 - Capa 5 –Niv.3 [Trinchera 8 – '05] Trinchera 8 - NWQ

Trin. 9-Enclos.1, Capa 1

P-Shi-a9 ditto Fig. 11a: row 2: 4

P-Shi-a11 ditto Fig. 11a: row 2: 6 P-Shi-a12 ditto Fig. 11a: row 3: 1 P-Shi-a13 ditto Fig. 11a: row 3: 2

P-Shi-a14 ditto Fig. 11a: row 3: 3

W (cm)

Th (cm)

Measurements Wgt (gr.)

Colour

F

F F F

F?

F

F F

(5.3)

(6.5) (7.4) (8.5)

(6.9)

(5.00)

(6.8)

(7.1)

(7.0) (7.2)

(5.2) (4.2) (4.7)

(4.07)

(4.2)

(6.9) (3.95) (3.9)

(4.5)

(3.42)

(2.76)

(3.42)

(7.8) (3.7)

(4.24) (3.16) (5.0)

(3.95)

(9.3) (9.2) (9.9) (9.7)

(13.3)

(9.7)

(9.5) (8.5)

(5.0)

Thin white slip

Terracotta

Terracotta + traces of slip Grey

Grey

Terracotta

Terracotta

Terracotta + traces of slip Terracotta Black

Terracotta Terracotta Terracotta Terracotta

Brown on cream

Terracotta Terracotta + dark red Terracotta

Terracotta

Terracotta

S

S

1M? HM? 1M+H M HM

HM

HM

HM

HM 1M+ HM HM

1M? HM HM

1M?

1M?

1M

Mold

S?

S? S? S?

H

S?

S?

S?

S? S?

S? S? S?

S?

S?

S

Mold 1M S

1M

1M

New no. 13651

New no. 13686

New no. 13088

Published

Arms? Legs missing Left arm, legs missing Head missing

Head Legs missing

Head Head Head

Head

Head missing

See Source

See Source See Source See Source

See Source

See Source

See Source

See Source See Source . See Source

See Source See Source See Source

See Source

Head New no. 136222 Head : the rest not visible Head and neck Head and neck Head and upper body Head and upper body

Head

Head and upper body Head Head fragment

Legs missing

Special Features

Head, left leg missing; right leg broken Head, legs missing n/a (2 through arms) Legs missing n/a (2 behind arms) Lower legs broken

n/a (2 through chest)

n/a (2 through armpits) n/a (2 at shoulders)

n/a ( 2 through chest)

n/a

Manufacture Air-holes

HM-M S-H

In brackets [ ] provenance as given in Shimada et al., 2010: Fig.11; provenances without brackets as given by I. Shimada, pers. com.

P-Shi-a10 ditto Fig. 11a: row 2: 5

Trin. 10, NEQ, Capa 8

P-Shi-a8 ditto Fig. 11a: row 2: 3

Trin.10 - Capa 5 –Niv.3 Trin. 10, SEQ, Capa 8

Trin.10 - Capa 5 –Niv.3 [Trinchera. 8 – '05] Trin.10 - Capa 5 –Niv.3

[Trinchera. 8 – '05]

Trin. 10, SEQ, Capa 8

P-Shi-a1 Shimada et al., 2010: Fig. 11a: row 1: 1 P-Shi-a2 ditto Fig. 11a: row 1: 2 P-Shi-a3 ditto Fig. 11a: row 1: 3 P-Shi-a4 ditto Fig. 11a: row 1: 4

b. Pachacamac: Figurines from Plaza de los Pelegrinos

C161 C162 C163 C164

2230 P583

M42

M 43 2234

2238

2233

P-Shi-a5 ditto Fig. 11a: row 1: 5 P-Shi-a6 ditto Fig. 11a: row 2: 1 (MP 23575) P-Shi-a7 ditto Fig. 11a: row 2: 2

1

Sex

Ychsma Sub-Group 2.2A: Figurines with certain or fairly reliable provenances from the Lurín Valley (cont.) a. Miscellaneous Figurines from Pachacamac (cont.)

No

TABLE 51 (2): YCHSMA FIGURINES SUB-GROUP 2.2: LIP AND LH FIGURINES WITH PROVENANCES FROM THE LURÍN VALLEY

YTard A

YTard A,B? LIP 7-8? YTard A

?

YTard A?

YM BYTard A? ?

Early LIP? YTard A?

Inca LIP 7-8? Early LIP?

LIP 7-8?

YTard B YTard B YTard B YTard B

YTard A-B? YTard B

YTard B

YTard B YTard B

YTard B

YTard B

Date

107

107 107 107

107

107

107

107

107 107

107 107 107

107

107 107 107 107

106 106

106

106 106

106

106

Plate

480

Source

Site

Sex H (cm)

W (cm)

Th (cm)

Measurements Wgt (gr.)

Colour

F

[Trinchera 1-Ampl.-'O4]

F

Trinchera 7, NEQ, Capa 2, N-4 ditto Trin.10, Cuad C, Capa 8 Trin. 7- NE Ampl., Cut 2

F F F

F

[Trinchera 1-Ampl.-'O4]

[Trinchera 1-Ampl.-'O4]

F

F

[Trinchera 1-Ampl.-'O4]

[Trinchera 8 – '05] [Trinchera 8 – '05] [Trinchera 1-Ampl.-'O4] [Trinchera 1-Ampl.-'O4]

(6.5) (4.7) (ca 5.6)

(9.5)

(14.3)

(9.6)

(10.0)

(9.3)

(5.8) (8.5) (9.3) 8.6

(6.5) (7.2)

(8.0)

(4.5)

(7.5)

(7.8)

(4.6)

(5.0) 5.7

(4.5)

(6.1)

(2.8)

(2.8)

(3.6)

(2.8) 2.8

D

C-PV34 IV-2-EA 30- 367 B C-PV42 III-N64-65-W44-45-49- B/1 C-PV44 III-N69-70-W44-45B/1 296-1 C-PV46 III-N70-71-W44-45-325 G/4 C-PV84 II-1-EA19-341

C-PV38 IV-2-EA 67B-454 C C-PV75 III-7-EA101-HE26 B/2 C-PV81 III-7-EA64B-34 B/2 C-PV87 III-7-EA75B-HE29 B/2 Head- and Upper Body Fragments C-PV8 III-3-EA49-310 D C-PV9 III-3-EA21-172 C-PV16 III-5-EA35A-148-01 B C-PV19 III-5-EA48A-41-01 B C-PV30 III-7-EA73-HE26 B2

Complete Figurines C-PV1 III-3-EA49-311-1

F F F F

F

5.8 4.2 2.9 5.9 2.9

11.0 5.2

8.5 4,7 2.6 2.0 6.6

9.0 5.3 6.7 2.2 7.2 7.3. 5.9 2.9

3.8 3.8 4.8 3.5

3.0

7.1 5.4 7.5 6.0

7.1

1.9

2.9 2.6 1.3

3.4 2.2 1.4 1.9 2.5

2.2 14 19 1.5

1.9

c1. Ychsma Figurines from Pueblo Viejo-Pucará (from site catalogue)

C-Shi-Ph2 C-Shi-Ph3 C-Shi-Ph4

P-Shi-b6 ditto Fig. 11b: row 5: 3 (MP 231938) C-Shi-Ph1

ditto Fig. 11a: row 3: 4 ditto Fig. 11a: row 3: 5 ditto Fig. 11b: row 4:1 ditto Fig.11b: row 4: 2 (MP 23578) P-Shi-b3 ditto Fig. 11b: row 4: 3 (MP 23588) P-Shi-b4 ditto Fig. 11b: row 5: 1 (MP 231939) P-Shi-b5 ditto Fig. 11b: row 5: 2

P-Shi-a15 P-Shi-a16 P-Shi-b1 P-Shi-b2

100 25

105 48 11

154 54 42 6 85

34 17 54 25

34

Red, cream, black Dark Terracotta

Terracotta Terracotta Grey + white

Terracotta Dark Terracotta Terracotta Terracotta Terracotta

Terracotta Terracotta Terracotta + wh. Dark Terracotta

Terracotta

Terracotta Bright terracotta Grey – traces of cream slip

Dark terracotta

Black-on-white?

Thin white slip

1M 1M

1M 1M 1M

1M 1M 1M 1M 1M

1M 1M 1M 1M

1M

1M 1M 1M

1M

HM

HM

HM?

1M

1M? 1M 1M? M

S S

S S S

S S S S S

S S S S

S

S S S

S

S

S

S?

S

S? S? S? H

Complete Feet damaged Complete Complete Complete Complete

Left arm, legs missing Head, right leg missing Lower body missing Lower body missing Head, right leg missing Head, legs missing Body fragment Head, legs damaged

Head Head fragment Legs missing

Special Features

YTard A YTard A YTard A

YTard A

YM A, B? Chancay Phase 3? YM B? YTar A? ?

LIP 7-8?

Inca Inca YTard A? Chancay Phase 3

Date

Alexandrino Ocaña 2014: Fig. 4.10/1

See Source

See Source

See Source

See Source

See Source See Source See Source See Source

Published

Head + neck Alexandrino Ocaña 2014: Fig. 4.10/4 Head Left part of face 2 at armpits Head + upper body Head fragment: upper right corner missing 1 visible at shoulder Head + part of neck Head fragment Eye- and cheek Makowski y Vega Centeño 2004: Fig. 7a.1 fragment Head + right arm Makowski y Vega Centeño 2004: Fig. 7a.2 1 perforation through Elongated head + ear Upper body

2 at shoulders

2 at shoulders 2 at armpits 2 at armpits 2 at armpits

2 at shoulders

n/a (2 at shoulders)

?

n/a (2 at arms?)

Manufacture Air-holes

HM-M S-H

Ychsma Sub-Group 2.2A: Figurines with certain or fairly reliable provenances from the Lurín Valley (cont.) b. Pachacamac: Figurines from Plaza de los Pelegrinos (cont.)

No

TABLE 51 (3): YCHSMA FIGURINES SUB-GROUP 2.2: LIP AND LH FIGURINES WITH PROVENANCES FROM THE LURÍN VALLEY

108 108

108 108 108

108 108 108 108 108

108 108 108 108

108

107 107 107

107

107

107

107

107

107 107 107 107

Plate

481

Source

Site

Sex H (cm)

(F)

B/2 (Cateo 1)

C Relleno (Rasgo 1)

(Lente de Ceniza 1) A/1 Desencombramiento Piso 1 B/2 B/1

C-PV25 II-7-EA74-1514

C-PV26 III-7-EA73-HE42 C-PV28 III-7-EA73-851-01 C-PV43 II-1-953-55

C-PV56 C-PV62 C-PV66 C-PV69 C-PV82 C-PV86

(F) (F) F F

C-PV109 C-PV115 C-PV118 P578

Wrongly described as male

4.0 5.3 6.8 5.3

5.0 7.0 9.0

(F) F (F)

IV-1-ET17-540 B III-2-ET91/x Rasgo 2 III-2-ET42-B (Corridor Superficial) Cordova Palacios 2011: Pueblo Viejo-Pucará, Lám.132: lower middle Sector II – "Palace"

6.0 8.0

4.8 3.6 6.4 3.9 6.5 6.4

F1 F (F) F F (F) F

4.7 3.2 4.9

F M? F

C-PV93 II-4-EA41-540 C-PV101 IV- 10(EO/E10)N20/EO Limpieza de Superficie C-PV102 IV-E20(N20)/E30(N20)/E3 Superficie C-PV104 IV-1-EA17-268 B C-PV105 IV-1-ET22-756 D

II-5-EA45C-166 II-5-EA45-001I-3-EA16-HE19 III-7-ET101-39 III-7-EA64B-17 II-1-EA21-319

5.2 5.0

F F 3.8

5.0

6.0 4.9 7.9

F

F F F

3.0 4.3

5.0

C-PV17 III-5-N47-48/W44E1 (Lente de Ceniza) 45-145-01 C-PV18 III-5-EA48-08-01 A2 (Humus de Loma) C-PV24 II-7-EA74 ext-1514-01 B/3 (Cateo 1)

C-PV108 IV-E20(N10)/E10(N10)/E2 Superficie C-PV116 III-2-Plataforma 2 Relleno Body Fragments C-PV3 III-3-EA49-300 Superficie C-PV6 III-3-EA3-580 A/1 C-PV15 III-5-EA40-73-01 C

Head- and Upper Body Fragments (cont.) C-PV100 IV-1-EA11-112 (Rasgo 2)

1

W (cm)

Th (cm)

Measurements Wgt (gr.)

Colour

5.0 3.4 4.7 4.5

5.0 8.0 4.0

5.0 5.0

4.7 4.0 6.0 3.5 6.0 5.3

3.2 2.6 5.3

4.0

4.6 4.1

4.4

8.0 5.1 4.9

3.0 2.6

2.0

2.0 1.2 2.7

2.0 3.0

2.0 3.0

1.9 2.5 3.4 16 2.5 2,1

1.5 0.9 2.0

1.6

2.6 2.1

1.6

3.6 1.6 3.0

1.4

2.0

44 30 71

85 196 84

73 102

43 28 130 17 75 94

52

21

20

61 35

33

182 45 89

16 13

35

Terracotta Dark terracotta Terracotta

Dark terracotta Dark terrac.+ white Terracotta + white

Terracotta Terracotta

Dark terracotta Terracotta Pale terracotta Terracotta Terracotta Dark terracotta

Terracotta Terracotta Terracotta

Terracotta

Terracotta + white Terracotta + Cream Terracotta

Terrac. + brown Terracotta Terracotta

Black on Cream Dark Terracotta

Dark Terracotta

1M 1M 1M 1M

1M 1M M

HM? 1M

1M 1M 1M 1M 1M 1M

1M 1M 1M

HM?

1M 1M

1M

1M 1M 1M

M 1M

1M

S S S

S S H

S S

S S S S S S

S S S

S

S S

S

S S S

H H

S

Body Fragment

Body Fragment Body Fragment

Body Fragment

Body Fragment Body Fragment Body Fragment

Elongated head; Legs damaged Part of face Head

Special Features

Hernandez-Garavito 2008: Lám. 7.41lower right 2 Hernandez-Garavito 2008: Lám. 7.41lower right 1

Alexandrino Ocaña 2014: Fig. 4.10/2

Published

2 at armpits Head missing 2 at armpits Head and shoulders missing 1 vis. at left shoulder Body fragment Córdova Palacios 2011: Lám. 132 (photo + drawing) Body fragment Body fragment 2 near elbows Body fragment 2 at armpits Head missing 2 at armpits Body fragment Body fragment Córdova Palacios 2011: Lám. 132 (photo: lower middle) 2 at shoulders Body fragment Hernandez-Garavito 2008: Lám. 7.41 1 perforation visible Body fragment on left shoulder 1 right shoulder Body fragment 2 at shoulders Body fragment Left side of neck + torso Body Fragment 2 at chest Body Fragment Part of head, body, 2 at armpits Body (head See Source; published but not listed in PV missing) catalogue

2 at shoulders

2 at shoulders

2 at armpits

no

Manufacture Air-holes

HM-M S-H

Ychsma Sub-Group 2.2A: Figurines with certain or fairly reliable provenances from the Lurín Valley (cont.) c1. Ychsma Figurines from Pueblo Viejo-Pucará (cont.)

No

TABLE 51 (4): YCHSMA FIGURINES SUB-GROUP 2.2: LIP AND LH FIGURINES WITH PROVENANCES FROM THE LURÍN VALLEY

108 108 108 108

108 108 108

108 108

108 108 108 108 108 108

108 108 108

108

108 108

108

108 108 108

108 108

108

Plate

482

Source

Site

Sex H (cm)

W (cm)

Th (cm)

Measurements Wgt (gr.)

Colour

n/i M F

F F n/i n/i

1.9 3.0 3.0

4.5 3.5 5.3 5.5 1.3 1.8 7.3 5.6 3.9 6.4 4.5 5,3 2.3 4.0 4.0 4.0 4.0 2.0 4.0 2.0 4.1

4.6 3.7 4.9 5.5 2.0 3.0 6.0 4.1 3.9 4.7 4.6 4.6 2.9 4.6 4.8 4.0 4.0 3.0 5.0 3.0 5.6 4.2 4.0 5.0

3.5 1.7 4.0

4.6 3.6 9.0 8.0

1.7 2.0 4.0

1.0 3.0 2.0 1.7 2.5 2.8 2.0 2.5 2.2 2.7 1.2 1.0 1.0 2.0 2.0 2.5

2.4 12 9.0 1.8

12 1.3 3.0 1.0

47

14

94 40 26 78 41 27 11 38 39 33 31 8 40 14 63

56 34

41 18

17 11 86 15

Terracotta Terracotta Terracotta

Terracotta Dark Terracotta Grey Terracotta Terracotta Grey Terracotta Dark Terracotta Dark Terracotta Terracotta Terracotta + white Terracotta Terracotta Terracotta Terracotta + white Terracotta Terracotta Dark grey Terracotta Terracotta Terracotta + white

Terracotta Black Terracotta Dark Grey

HM 2M? HM?

HM HM M M HM 2M M+HM? M? M? M? 1M 1M HM 1M M HM? HM HM HM 2M 1M

HM HM 1M HM

S S H

S S S S S S

S S S S S S S

S S H H S S

S S S S

S

P582

P581

P580

P579

Cordova Palacios. 2011: Lám.132-;lower left Hernández-Garavito 2008: Lám.7.41 upp.left Hernández-Garavito 2008: Lám.7.41 upp.rgt Watson 2009: Fig.50.1r

Pueblo Viejo-Pucará, Sector II – "Palace" Pueblo Viejo-Pucará. II-7-1063-01 Pueblo Viejo-Pucará. II-7-504-03 Pueblo Viejo-Pucará. II-3-698-04

F

3.2

5.3

4.4

7.0

2.0

4.4

3.2

3.9

0.9

3.9

2.4

1M

1M

1M

1M

S

S

S

S

Published "Associated" figurines from Pueblo Viejo – not listed in the inventory – [and probably not Ychsma]

Complete Figurines C-PV7 III-3-EA7-223 C (Banqueta) C-PV11 III-3-EA49-311-2 D C-PV97 IV-1-EA23-1013 Piso 1 C-PV98 IV-1-EA19-126 C Head Fragments C-PV2 III-3-EA49A-345 B C-PV5 III-3-EA33-288 Piso 1 (Interior de Piso) C-PV12 III-3-EA52-579 Piso 1 ( Rasgo 3) C-PV13 III-3-ET33/EA50 B/11 –Lado Oeste C-PV14 II-5-EA49-022-01 B-2 C-PV20 II-5-EA48A-43-01 B C-PV21 II-5-EA48A-42-01 B C-PV22 II-5-EA50-12-1 C C-PV23 II-5-EA50A-017 Piso 1 (Banqueta) C-PV33 IV-2A-EA38-52 B/2 (EA 38) C-PV53 I-1-EA9-52 C/2 (Razgo 1) C-PV64 I-1-EA20-86 B 2 (Collapso de Piedra) C-PV68 III-7-ET_EA-101-35 B/2 (Cuadricula 1) C-PV83 III-7-EA64B-10-2 B/2 C-PV85 II-1-EA4-430 Area B Sobrepiso C-PV91 II-3-EA67-13 B/2 (Collapso de Piedra) C-PV94 IV-superficie-465b Superficie C-PV95 IV-1-EA24C-607 C-PV96 IV-N10(W10/W20/W10)Superficie C-PV114 IV-1-S70(W80)/S80(W70) Superficie C-PV119 III-2-EA-68-C Capa C Body Fragments C-PV36 IV-2-EA 63-369 D C-PV99 IV-1-superficie-464c Superficie C-PV103 IV-E20(N10)/E10(N10)/E2. Superficie 2 at chest

2 at armpits no no no

Manufacture Air-holes

HM-M S-H

Ychsma Sub-Group 2.2A: Figurines with certain or fairly reliable provenances from the Lurín Valley (cont.) c2. "Associated" non- Ychsma figurines, excavated in Pueblo Viejo-Pucará

No

Right side of face damaged

Complete

Head

Head and upper body Head

See Source

See Source

See Source

See Source

Torso + part of legs Head missing; sitting? Part of body, hand, part of leg

Head + part of neck

Published

Cordova Palacios 2011: Lám.132: lower right

Head + part of neck Part of face with nose Surface eroded

Lower face missing

Chin missing Lower face missing

Sitting Arms broken

Special Features

TABLE 51 (5): YCHSMA FIGURINES SUB-GROUP 2.2: LIP AND LH FIGURINES WITH PROVENANCES FROM THE LURÍN VALLEY

109

109

109

109

109 109 109

109 109 109 109 109 109 109 109 109 109 109 109 109 109 109 109 109 109 109 109 109

109 109 109 109

Plate

483

1

Source

Site

Sex H (cm)

W (cm)

Th (cm)

Measurements Wgt (gr.)

Colour

Feltham 1983: Fig. XCIX c

Avillay, Lurín

Lopez-Hurtado 2011: Panquilma, Lurín V. Fig.28, left Pyramid I - Plaza Lopez-Hurtado 2011: Panquilma, Lurín V. Fig.84, lower left Compound 2-midden Feltham 1983: Fig. XCIX b Panquilma, Lurín Feltham 1983: Fig. XCIX d Panquilma, Lurín Feltham 1983: Fig. XCIX e Panquilma, Lurín

F

F F

(F)

F

(2.5)

2.0 2.2 (5.0)

4.0 1 (5.0) 1 (6.8) 1 (5.3) 1

(5.8)

4.8

(9.6)

(6.4)

6.0

1.2 1.9

? Pale Terracotta Black + red, white pf paint Unbaked clay

Pale Terracotta?

Pale Terracotta?

AMNH B 8188 (Gaffrón) EMB VA 39059 (van den Zypen ) MAI 16/258 (Egbert Lott Coll.) MAI 16/144 (Egbert Lott Coll.) MRAHB AAM 5451 (Gift De la Comb) EMB VA 39058 (van den Zypen) AMNH B 8967 (Gáffron) EMB VA 39082 (van den Zypen)

Pachacamac *

Pachacamac *

Pachacamac *

Pachacamac

Pachacamac

Pachacamac

Pachacamac *

Pachacamac *

n/i

F

F

F

F

F

F

(5.8)

17.3

(21.7)

(7.9)

15.7

(15.9)

15.5

17.8

Measurements, taken from the publication, are approximate.

322

1429

258

123

M 35

1815

496

1443

(2.8)

8.5

11.4

(4.4)

(10.5)

7.1

10.5

4.2

5.2

2.6

5.1

2.3

390

270

F: white (dirty) B: terracotta Dark terracotta

Terracotta + traces of cream Dark grey

Terracotta

Terracotta

Yellowy white

Pale brown

Ychsma Sub-Group 2.2B: Figurines with undocumented provenances from the Lurín Valley

P587

P584 P585 P586

P577

P576

M

1M

1M

1M

Mold

1M

1M

HM

HM

1M HM? 1M

1M

1M

S

S

S

S

S

S

H

S

S S S

S

S

n/a (2 through chest) n/a (2 through chest) n/a ( 2 through chest) n/a

n/a ( 2 through chest)

2 behind upper arms n/a

n/a (2 at shoulders) 2 at armpits n/a (2 at shoulders)

2 at armpits

Manufacture Air-holes

HM-M S-H

Ychsma Sub-Group 2.2A: Figurines with certain or fairly reliable provenances from the Lurín Valley (cont.) d. Figurines from other sites in the Lurín Valley

No

See Source

See Source See Source See Source

See Source

See Source

Published

Lilien 1956: 252ff, Table 22, Pl. XX h, i Sitting? Back and base broken: probably part of a vessel

Legs, right side damaged

Whole fig. Head + Upper body Head + Body, damaged

Head missing, legs damaged Head, part of chest

Special Features

TABLE 51 (6): YCHSMA FIGURINES SUB-GROUP 2.2: LIP AND LH FIGURINES WITH PROVENANCES FROM THE LURÍN VALLEY

110 110

Inca

110

110

110

110

110

110

110

110 110 110

110

110

YTard B

YTard A, B? YTard B

YTard A, B? YTard A

LIP 8-9?

LIP 8-9?

YTard B? YTard B? Chancay phase 4? YTar A?

YTard B

YTard B

Plate

484

1

Source

Site

Sex H (cm)

MVV 68614 (S.S."Donau")

EMB VA 956 (Bastian)

MVV 5939 (Purchase Umlauf) MVV 5940 (Purchase Umlauf) UPMP 65-46-4 (No data) MAL 2809

1299

443

1301 F

probably Ancón 1

2

F

probably Ancón 1

11.3

26.5

19.1

24.5

15.4

20.8

34.0

34.5

31.5

35.2

33.8

29.5

ca 38.0

45.0

39.0

38.8

43.1

26.9

10.3

18.5

(16.1)

19.5

8.3

12.3

11.6

(12.9)

14.5

(14.2)

(17.0)

16.2

19.5

15.8

22.6

21.5

23.4

6.9

15.5

12.5

16.0

4.7

5.9

10.1

11.1

11.5

10.2

10.8

9.4

13.5

13.3

13.0

12.5

8.3

Th (cm)

290

250

380

940

ca 1000

1420

2180

990

Wgt (gr.)

White and terracotta

Black

Dark terracotta

Buff (+ traces of red on face) Pale grey

F (Body): White B (Head + Body): Terracotta F (Body): White B (Head, Body): Terracotta F (Body): White B (Head + Body): Terracotta Buff

(Sand-blown)

Terracotta

Pale Terracotta

Terracotta (+ traces of black?) Terracotta + traces of white Orange + black. white, red Orange + black. white, red Orange + black. white, red Orange + black, white (pf red on face)

Colour

A site of that name exists in both valleys

n/i

n/i

F

n/i

F

F

F

F

F

F

F

F

F

F

F

F

Chancay

probably Chancay or Ancón 1

Chimbote º º

See Discussion/Geographic distribution

1455

2189

543

1474

1302

1632

522

Ancón *

Ancón **

Ancón 1 ** T.325 ? 1

Chancay

Ancón *

“Salinas”- Chancay or Huaura Valley? 2 Marquez, Chillón Valley LMS 108619 Marquez, (Lembsch Collection) Chillón Valley SIW 379597 (Gift W. Schaus)

PMH 54484 (Gift Bucklin) MHP 78.2.734 (Gift Wiener) MHP 78.2.733 (Gift Wiener) PMH 54751 (Gift Bucklin)

1742

521

EMB VA 6391 (Reiss and Stübel)

EMB VA 48592 (van den Zypen) EMB VA 2302 (Gift Baedecker) MNAA P.4575 (MNAA excavations) EMB VA “863a?” (Bastian) EMB n/n

P588

205

251

623

252

417

13.2

W (cm)

Measurements

Sub-group 1.1A: Large, hollow figurines with extended arms

No

M+ HM?

HM?

M+ HM? HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM M

H

H

H

H

H

H

H

H

H

H

H

H

H

H

H

H

S-H

Special Features

Published

Previously with belt; Was found with metal plate in the mouth

Sitting (rotund) 2 at ears, 2 at waist Sitting; left arm broken 1 mouth, 2 at shoulders, Sitting 1 umbilicus 2 at waist Sitting hunchback Rounded head

2 at armpits

1 mouth

1 mouth 1 vulva

2 at ears 2 mouth Seler 1893:Taf.13, fig.6; Schuler-Schömig 1984: fig.1A, B..

1 mouth, 2 shoulders Seler 1893 : Tafel 12.3 1 vulva 2 at shoulders 1 vulva 2 at shoulders Previously dressed (see Seler 1893 : Tafel 12.8 1 vulva Schmidt 1929: 208 left) Schmidt 1929: 208 left 2 shoulders 1 vulva? 2 ears Dressed Reiss and Stübel 1880-87: vol. III, Pl.90, fig.1; 1 vulva (extended arms) Seler 1893: Tafel 12.10; Schmidt 1929: 254 left; 1 anus Lilien 1956: 259ff, Table 24; Kaulicke1983: Abb.65.1; Haas 1986: no.130. 2 ears, 2 shoulders Dressed Lilien 1956:259ff, Table 24, Plate XXI a. 2 waist 2 ears, 1 mouth 2 shoulders 2 ears, 1 mouth 1 anus 2 at shoulders, 1 anus

2 shoulders

Air-holes

Manufacture

TABLE 52 (1): LATE HORIZON SUB-GROUP 1.1: LARGE, MOSTLY HAND-MADE, HOLLOW FIGURINES – CULTURALLY UNASSIGNED

111

111

111

111

111

111

111

111

111

111

111

111

111

110111 111

110

110

110

Plate

485

Source

Site

Sex H (cm)

W (cm)

Th (cm)

Measurements

PMH 46.77.30/6210 (Lothrop) MNCP P.6606 (MNAA Excavations) MVH B 1086 (acquired before 1870) MHP 78.2.219 (Gift Wiener) MHP 78.2.739(W) (Gift Wiener) MHP 78.2.541 (Gift Wiener)

1746

Chuquitanta * Chillón Valley Chancay *

Peru

Chimbote º º

Ancón * (provenance given by Seler) Ancón

"Ancón ?"

Chuquitanta * Chillón Valley Ancón **

"Chimbote?" °°

Ancón

F

F

F

F

F

F

F

F

F

F

F

F

F

(16.0)

14.7

32.0

43.9

32.0

44.0

39.5

41.5

54.5

42.0

51.1

36.7

46.0

(17.5)

7.1

14.7

19.2

(14.6)

13.5

13.7

15.3

18.4

16.5

18.4

13.1

(16.5)

97

520

523

203

879

Ancón

Huacho * Huaura Valley Ancón 1, T.472 ***

F

(11.5)

(15.0)

(12.3)

(8.2)

(12.5)

(17.2)

(12.8)

(9.8)

H: (10.3) Head: B: (10.0) (8.5) (9.3) (8.0)

Head Fragments belonging to LH Sub-group 1.1A or 1.1B

401

1342

1347

244

MVV 5.938 (Purchase Umlauf) EMB VA 18061 (Baessler) AMNH B 8203 (Gáffron Collection) AMNH B 8199 (Gaffrón Collection) EMB n/n (Baessler)

1330

454

1145

246

239

1346

EMB VA 3845 (Macedo collection) BCM A 207-1982 (Wellcome Foundation) EMB n/n

EMB VA 3827 (Macedo Collection) EMB VA 48176 (van den Zypen) AMNH B 8291 (Gaffrón Collection) EMB VA 6392 (Reiss and Stübel)

462

250

MVV 15055 (acquired 1882)

1300

(9.0)

(12.5)

(8.7)

(7.0)

Head: (6.2)

(10.4)

6.6

8.9

12.2

9.4

11.5

12.5

12.2

13.9

13.4

13.5

11.2

(14.0)

LH Sub-group 1.1B: Large, hollow figurines with folded arms

No

830

2340

1310

2200

1240

Wgt (gr.)

Black on red + white incr.(pf?)

(Sand-blown, Traces of pf white?) Grey-black

Terracotta

(Sand-blown)

Grey-buff

Traces of (pf?) white on grey-black Terracotta

Terracotta + white Cream on red

Orange + brown, cream Traces of black, white on red F (Body): white B (Head + Body): dark red Terracotta

Orange + brown, cream

Pale orange + Redbrown, white White on ochre

(Sand-blown)

Traces of cream slip

Colour

M?

HM

HM

HM

HM

HM

HM

M

HM

HM

HM

HM

HM

HM

HM

HM

HM

HM?

HM

HM M

H

H

H

H

H

H

H

H

H

H

H

H

H

H

H

H

H

H

H

S-H

2 ears, 1 mouth, others?

2 at shoulders

2 ears, 1 vulva 1 anus 2 through chest (front and back) 1 vulva

1 vulva 1 anus 2 at shoulders 1 vulva, 1 anus 2 at shoulders 1 vulva

1 vulva 1 anus 2 nose 1 vulva

2 nose, 1 mouth, 2 at shoulders, 2 nipples, 1 vulva 1 behind left shoulder 1 mouth

Air-holes

Manufacture

Lilien 1956: 264f, Table 24, Plate XXII c.

Seler 1893: Taf.12, fig.12.

Published

Part of faceneck?

Head and lower body fragments Gravelot

Head Fragment Folded arm visible

Hunchback

Previously dressed

Schmidt 1929: 208 right; Inca-Perú 1990: no.217 Lilien 1956:267f., Table 24, Plate XXII f.

Seler 1893:Taf.12, fig.7.

Reiss and Stübel 1880-87:vol.III, Pl.90, fig.2; Seler 1893: Taf.12, fig.9; Schmidt 1929: 254 middle; Disselhoff and Linné 1954: Fig.50; Lilien 1956:259ff, Table 24; Kaulicke1983: Abb.65.2; Haas 1986: no.128. Plaited band Seler 1893:Taf.12, fig.11. at neck

Dressed

Special Features

TABLE 52 (2): LATE HORIZON SUB-GROUP 1.1: LARGE, MOSTLY HAND-MADE, HOLLOW FIGURINES - CULTURALLY UNASSIGNED

113

113

113

113

113

113

112

112

112

112

112

112

112

112

112

112

112

112

112

Plate

486

MNCP P.6330 (MNAA excavations)

MNCP P.5823 Ancón 1/T.422*** (MNAA excavations) EMB VA 3829 Ancón (Macedo Collection) FMC 111376 Peru (Coll. by C .F .Gunter) EMB 19006 Chuquitanta* (Baessler) Chillón Valley AMNH B8200 Medialuna * (Gáffron Collection) Chillón Valley UPMP 33356 Marquez*, Northern corner (Uhle 3356) (bought in Lima) MHP 78.2.735 (Gift Wiener)

858

1048

Ancón 1/ F.72 ***

Ancón 1/ F.72 ***

F

F

F

F

F

F

F

F

F

F

F

Sex

1860

344

1696

420

2010

861

860

1198

346

"Ancón ?"

Ancón

Ancón

F

F

F

F

F

Ancón 1/T. 362***

Ancón Site T **

F

F

Ancón 1/T. 362***

"Supe, Huacho"

F

and 861 have the same catalogue number

EMB VA 2030 (Bastian? Card missing) MVM G 717 (Gáffron collection) MNCP P.5185 1 (MNAA excavations) MNCP P.5185 1 (MNAA excavations) HMB 4-5764 (Uhle excavations) EMB VA 2029 (Bastian Collection)) PMH 8701 (Gift Agassiz) EMB VA 3841 (Macedo Collection)

Sub-Group LH 1.2B: One frontal mold only, solid

93

1523

1343

506a

1608

458

857

Chancay

MAI 15/1475 (Purchased by G. Heye) MNCP P.6329 (MNAA excavations)

1816

Chongoyape * Chancay V.

MAL 3251

Site

570

Source

14.7

25.1

22.6

20.0

21.8

21.4

17.2

24.9

24.9

18.4

25.5

27.6

31.8

34.2

24.2

24.9

25.2

29.8

32.0

(6.4)

10.1

7.8

9.2

8.4

8.3

8.6

(11.6)

11.2

8.2

12.5

11.8

16.5

10.3

13.4

13.2

(14.0)

22.0

2.6

4.5

3.8

4.0

3.2

3.6

3.9

5.0

7.0

4.2

5.2

7.0

7.0

5.4

6.5

6.4

8.5

6.2

860

540

440

410

420

310

870

320

700

1130

1540

830

630

over 1000 630

Measurements H W TH Wgt (cm) (cm) (cm) (gr.) Sub-Group LH 1.2A: One frontal mold, hand-made back, hollow

No

Terracotta + traces of white Dark Terracotta Terracotta + traces of white

Dark terracotta

Terracotta

Terracotta

Terracotta + white Dark grey?

Terracotta + white

Black + white, red pf incrustations Dark Terracotta Terracotta

Terracotta

Terracotta

Terracotta

Terracotta + white

Front: Reddishbrown; Back: White Dark Terracotta Terracotta + white

Colour

1M

1M

1M or HM? 1M

1M

1M

1M

1M

F: M B:HM

F:1M B:HM F: M B: HM F: M B: HM F:1M B:HM F:1M B:HM 1M

F: M B:HM

F: 1M B:HM F: M B:HM

F:M B:HM

S

S

S

S

S

S

S

S

H

H

H

H

H?

H?

H?

H

H

H

H

n/a ( 2 through chest) n/a ( 2 through chest) n/a ( 2 through chest) n/a ( 2 through chest) n/a ( 2 through chest) n/a ( 2 through chest) n/a ( 2 through chest) n/a ( 2 through chest)

2 ears, 1 mouth 2 at shoulders, 1 vulva

2 at ears 2 at waist 2 through chest

2 through chest

2 through chest

2 through chest

2 at ears 2 at waist 2 ears, 2 nose, 2 at shoulders 2 waist, 1 vulva 2 ears, 2 nose, 2 at shoulders 2 waist, 1 vulva 2 at ears

1 mouth 2 at shoulders

Manufacture HM-M S-H Air-holes

Originally dressed

Gravelot

Identical Pair

Extended arms (left arm broken)

Gravelot

Identical Pair with extended arms Gravelot

Extended arms

Special Features

TABLE 53 (1): LATE HORIZON SUB-GROUP 1.2: FIGURINES MADE OF ONE FRONTAL MOLD - CULTURALLY UNASSIGNED

Lilien 1956:266, Table 24.

Seler 1893: Tafel 13, fig.13; Schmidt 1929: 254r.

Published

114

114

114

114

114

114

114

114

113

113

113

113

113

113

113

113

113

113

113

Plate

487

Source

Site

Sex

2384 467

MAM 8373 (no data) EMB VA 3839 (Macedo Collection)

"Ancón ?"

EMB VA 3875 "Ancón ?" (Macedo Collection) EMB VA 3879 "Ancón ?" (Macedo Collection) EMB VA 2573 Ancón (Dr. Velten) UPMP 33357 Marquez*, Northern corner (Uhle 3357) (bought in Lima) EMB VA 18951 Marquez* (Baessler) Chillón Valley EMB VA 18950 Marquez * (Baessler) Chillón Valley Schmidt 1929: 256, Marquez* lower right (Baessler ) Chillón Valley UPMP 33566 Huaca Paraiso* (Uhle 3403) Chillón Valley AMNH B 8438 Oquendo* (Gáffron Collection) Chillón Valley MVH 638:07 (no data) BM 1953 – PM 12-3 (no data) UPMP 33944 "Caudivilla, Lima (Uhle 868a) Valley" (sic!) EMB VA 2259 (Gift Boedecker) EMB VA 3836 (Macedo Collection) MVH B 1077 (acquired before 1870) MVV 68612 (S.S."Donau") MVV 68613 (S.S."Donau") BCM A 790-1982 (Gift Wellcome Found.) BM 93.10.26.1 (no data) MM 0.1227 (Darbishire Collection) MVV 68609 (S.S."Donau")

Atypical

1311

1130

41

1144

1309

1308

182

418

386

1460

6

166

1362

1520

P589

278

277

1511

224

274

345

F F

F

F

F

F

F

F

F

F

F

F

F

F

F

F

F

F

F

F

F

F

15.7

16.5 17.1

16.4

22.2

19.2

24.8

26.6

25.0

19.5

19.2

19.9

12.6

(18.2)

23.0

15.2

14.2

18.0

(15.2)

12.7

14.9

(15.0)

15.1

H (cm) Sub-Group LH 1.2B: One frontal mold only, solid (cont.)

No

6.5 7.9

7.8

9.3

7.4

10.9

10.3

9.0

ca 7.0

8.8

8.8

5.9

(9.0)

11.2

9.6

8.1

7.6

6.0

(8.9)

(7.9)

7.9

(7.8)

4.4

( 7.8)

4.0

3.4

5.8

5.3

4.5

4.1

4.0

2.8

(4.9)

6.8

3.5

3.1

3.7

2.6

3.5

5.1

3.5

(220)

550

380

280

970

980

820

420

450

165

(385)

760

310

200

140

(270)

300

300

Measurements W TH Wgt (cm) (cm) (gr.)

Terracotta Pale terracotta

Terracotta + white Dark Terracotta Dark grey (dirty?) Traces of white slip?

Buff (dirty)

Brown

Dark red slip + white White slip + white, black Dark terracotta + traces of pf red Traces of "blackon-white" Brown + traces of white Traces of white slip + black? Red-buff + traces of white, black Pinky buff

Black+ white, red pf incrustations Black+ white, red pf incrustations

Pale Buff (traces of sintering) Terracotta

Brown

Dark terracotta

Colour

HM HM?

M+ HM

1M

1M

1M

1M

1M

1M

1M

1M

1M

1M

1M

1M

1M

1M

1M

1M

1M

1M

1M

S S

S

S

S

S

S

S

S

S

S

S

S

S

S

S

S

S

S?

S

S

S

n/a n/a

n/a

n/a

n/a

n/a

n/a

n/a

n/a ( 2 through chest) n/a ( 2 through chest) no

n/a

n/a

n/a ( 2 through chest) n/a ( 2 through chest) n/a

n/a ( 2 through chest) n/a ( 2 through chest) n/a ( 2 through chest) 2 through chest

n/a ( 2 through chest) n/a ( 2 through chest) n/a

Manufacture HM-M S-H Air-holes

Damaged Left leg broken

Sitting

Dressed

Published

Lilien 1956: 240, Pl. XVI t.

See Source; Lilien 1956: 252ff, Table 22, Pl. XX f.

Seler 1893:Taf.13, no.15

Lilien 1956: 252ff, Table 22, Pl. XX l

Necklace with figurine pendant, allegedly "added later" Feet broken

Lower part of body missing

Head and body fragment Right arm damaged

Special Features

TABLE 53 (2): LATE HORIZON SUB-GROUP 1.2: FIGURINES MADE OF ONE FRONTAL MOLD - CULTURALLY UNASSIGNED

115 115

115

115

115

115

115

114

115

115

115

115

115

115

115

115

115

114

114

114

114

114

114

Plate

488

286

1422

2095

1171

1249

1618

1631

383

1652

1654

P590

455

314

AMNH 41.0.4727 (Gift Mathewson) EMB VA 27987 (card missing)

PMH 46.77.30/6211 (Lothrop) EMB VA 27983 (van den Zypen) EMB VA 27984 (van den Zypen) Ravines and Stothert 1976:164, 201, PMH 39.83.30/1880 (Data not recorded) PMH 39.83.30/1881 (Data not recorded) EMB VA 25064 (Baessler) AIC 55.2425 (Gáffron Collection) AIC 55.24.27 (Gáffron Collection) MVM 148 (Mayrock Collection) RJC 32057 (Gift van den Zypen-Langen) PC1NY

1684

Chuquitanta * Chillón Valley

Peru

Peru

Ancón ***

Chancay *

Huacho * Huaura Valley Chancay*

Site

F

F

F

F

F

F

F

F

F

F

F

F

F

F

Sex

3.5

5.3

5.5

6.0

3.4

3.8

5.5

5.3

3.1

(3.5)

5.5

4.2

5.4

(5.2)

2.1

2.8

3.1

2.5

1.5

2.3

2.9

2.5

1.8

2.0

2.9

(2.3)

2.3

2.3

1.2

1.6

1.6

1.3

1.1

1.4

1.7

1.7

0.9

1.0

1.5

1.8

1.2

40

20

30

10

20

20

Measurements H W TH Wgt (cm) (cm) (cm) (gr.) Sub-Group LH 1.2C: Miniatures, one frontal mold only, solid

Source

No

Terracotta + white Black+ white, red pf incrustations

Terracotta

Grey

Dark buff

Brown (+ white?) Grey/buff

Pale Terracotta Terracotta

Terracotta

Terracotta

Dark terracotta (+ black?) Terracotta

Dark terracotta

Colour

1M

1M

HM

1M

2M?

1M

1M

1M

1M

1M

HM?

1M

1M

S

S

S

S

S

S

S

S

S

S

S

S

S

n/a ( 2 through chest) n/a ( 2 through chest) n/a ( 2 through chest) n/a ( 2 through chest) n/a ( 2 through chest) n/a ( 2 through chest) n/a ( 2 through chest) n/a ( 2 through chest) n/a ( 2 through chest) n/a ( 2 through chest) n/a ( 2 through chest)

n/a ( 2 through chest) n/a ( 2 through chest) n/a

Manufacture HM-M S-H Air-holes

Gravelot

Left ear missing

Head damaged

Special Features

TABLE 53 (3): LATE HORIZON SUB-GROUP 1.2: FIGURINES MADE OF ONE FRONTAL MOLD - CULTURALLY UNASSIGNED

See Source

Published

116

116

116

116

116

116

116

116

116

116

116

116

116

116

Plate

489

Source

1705

1050

Site

MNAA n/n (31?) (no data) PMH 42.28.30/4468 (Lothrop)

Central Coast

MM 0.1226 (Darbishire Collection) BM 1927.3.7.11 (Gift Birch) MVH B 1423 (no data) SIW 132601 Ancón (collected by N..Curtis for Bureau of American Ethnology) Museo Pigorini, Rome n/n

Miscellaneous figurines

2393

1452

187

40

1133

F n/i

F?

F

F

F

F

F

Sex

13.5 6.3

4.6

14.3

6.2

(5.8) (3.8)

10.3

17.4

H (cm)

4.0 2.8

2.3

8.3

3.3

3.5 (3.2)

3.1

8.0

2.8

1.7

4.4

2.2

1.9 (1.1)

2.9

3.0

Terracotta

Dark Terracotta Yellowy white

Greyish-black Greyish-black

Pale brown

Terracotta

Colour

Pale terracotta Light tan (+ turquoise incrustations)

25

310

30

80

360

Measurements W TH Wgt (cm) (cm) (gr.)

HM HM? or 2M

1M

1M

HM?

1M 1M

1M + HM back? 1M + HM back?

S S

S

S

S

S S

S?

S

F

14.2

23.3

22.4

F F

22.0

22.7

18.6

18.5

H (cm)

M

F

M

n/i

Sex

6.9

8.7

7.8

8.5

8.1

6.9

7.3

W (cm)

4.0

(7.6)

4.5

5.2

5.7

5.9

D (cm)

Measurements

335

275

250

Wgt (gr.)

Buff; dark brown where restored

Black

Brown

Greyish-brown

Greyish-buff

Greyish-black

Greyish-black

Colour

M? + HM

HM

1M

1M

1M

2M?

2M

HM M

H?

H

(H)

(H)

(H)

H?

H?

H

no

1 at back

n/a

n/a

n/a

No

No

Manufacture SAir-holes

n/a no

n/a n/a (2 through chest) n/a (2 through chest) n/a (2 through chest) n/a

n/a (2 through chest) 2 through chest

Manufacture HM-M S-H Air-holes

55: LATE HORIZON GROUP 3: LATE HORIZON "SPECIALS" - CULTURALLY UNASSIGNED

MAM 8382 (no data) MAI 24/3874 (F.P. Drew collection)

Northern Peru

Group of similar odd figurines

No

TABLE

2385 1874

Atypical

1873

“Ancón ?”

EMB VA 3880 (Macedo Collection) MAI 22/1658 (Purchase)

2124

276 285

1875

395

Site

PMH 42.12.30/3233 Vicinity of Huacho* (Lothrop) Huaura Valley MAI 19/6632 (originally Ancón from Cranmore Ethnogr. Museum, Chislehurst, GB) EMB n/n EMB VA 27989 (van den Zypen) PC1NY

Source

1712

No

TABLE 54 : LATE HORIZON GROUP 2: FIGURINES WITH ELONGATED HEAD - CULTURALLY UNASSIGNED

Heavily restored

Special Features

Published

Published

Lilien 1956:252f, Table 22, Pl. XX a, b.

Damaged Fake? Holds object (broken)

Sitting

Sitting

Head damaged Head fragment, damaged

Special Features

117

117

117

117

116

117

117

Plate

116 116

116

117

116

116 116

116

116

Plate

490

Source

Site

HMB 4-7750 (Uhle excavations) AMNH B 8482 (Gáffron Collection) EMB VA 39050 (van den Zypen) AMNH B 8194 (Gáffron Collection)

2060

Peru

Pachacamac *

Supe, Chimu Capac ** Pativilca Valley Peru

Huacán *, Huaura V.

415

1581

2134

439

1023

390

389

1021

1807

1022

535

P592

P591

MNAA 1/ 4374 (No data) MAI 13/6910 (Purch. M. H. Saville) MNAA 46423 (confiscated) EMB VA 3869 (Macedo) EMB VA 35158 (van den Zypen) MNAA 42441 (No data) EMB VA 18864 (Baessler) AMNH 41.1.8105 (Gift “Foundation Co.”) FMC 168957 (Kroeber excavations) EMB VA 37408 (van den Zypen)

Carrión Cachot 1923: Fig.5 Carrión Cachot 1923: Fig.4 MAL 3351

P.10326 Inventario vol.XII? (MNAA excavations) 1834 MAI 16/4842 (A. Hyatt Verill coll.)

Marquez, Chillón V. Cemetery A***

Lima *

Ancón *

Ancón *

Chancay

Coast of Peru

Huacho, Huaura Valley Huacho, Huaura Valley Pisquillo Chico * Chancay Valley

F

n/i

n/i

n/i

F

n/i

F

F

F

F

F

F

(12.8)

(10.3)

14.3

13.9

22.5

9.8

12.8

14.0

12.3

19.3

15.1

(16.9)

Chimbote º º

(8.4)

12.7

12.3

13.6

12.8

H (cm)

16.0 F

n/i

n/i

n/i

n/i

n/i

Sex

Ancón 1 T. 786 ***

Group 2: Figurines on Funerary Litters

2132

503

2133

MAL 1636

540

Group 1: Figurines on Infant Cradles

No

(8.5)

7.7

10.4

9.9

11.6

8.2

9.5

9.7

7.9

11.2

8.1

11.1

8.0

(5.4)

8.0

7.2

8.4

8.1

W (cm)

4.0

3.6

4.6

4.6

7.2

4.0

5.7

3.7

4.8

6.1

6.2

4.5

3.3

4.1

4.5

5.0

Th (cm)

Measurements

340

310

560

150

280

300

250

660

390

460

260

220

260

Wgt (gr.)

Terracotta + traces of cream?

Brown

Terracotta + traces of cream? Terracotta

Black on white

Black on white

Black-on-white

Black-on-white

Black-on-white

Black-on-white

Black-on-white

Terracotta + cream, brown

Terracotta

Black

Black

Dark terracotta + white Dark terracotta

Colour

M

M

M

M

M

M

M

M

M

M

M

M

M

M

M

M

M

H

H

H

H

H

H

H

H

H

H

H

H

H

H

H

H

H

2 at sides

2 at sides

2 at sides

2 at sides

2 at sides

2 at sides

2 at sides

2 at sides

2 at sides

2 sides

2 sides

2 at waist (+ 2 through litter, front to back)

2 at sides

2 at sides

2 at sides

2 at sides

2 at sides

Manufacture Air-holes

HM-M S-H

TABLE 56 (1): FIGURINES ON CERAMIC CRADLES - FUNERARY LITTERS – "PALANQUINS"

Gravelot

Gravelot

Published

Lilien 1956: 179, Pl. XIII l.

Kroeber 1925b: Pl.76n; Lilien 1956: 179

Lilien 1956:181, Pl. XII c.

Practically identical with Cabieses 1974: I, 138

See Source

See Source

Upper ends of vertical poles broken off

Special Features

118

118

118

118

118

118

118

118

118

118

118

118

118

118

118

117

117

117

117

117

Plate

491

Source

Site

EMB VA 48493 (van den Zypen) UPMP 32183 (Uhle 2872)

464

Pachacamac ** (N.W of town)

Huacho*

Ancón

“Ancón?”

MAL 1160

MAI 24/4298 (Purchase F.P Drew) MNAA 46403 (confiscated) MNAA 41575 (Hda Marquez coll.)

601

1857

1098

1082

Sawyer 1975: Fig.201 MAL 1478

P593 602

Marquez * Chillón Valley

Lauri, * Chancay Valley Lauri, * Chancay Valley

Group 3: Figurines on "Palanquins"

1488

262

EMB VA 3838 (Macedo) EMB n/n

260

n/i

n/i

n/i

n/i

n/i n/i

?

F

F

F

Sex

Group 2: Figurines on Funerary Litters (cont.)

No

(7.9)

8.1

8.0

6.0

7.3 11.0

7.2

17.4

14.8

23.2

H (cm)

(7.9)

9.5

7.2

5.9

8.6 9.6

3.3

12.7

8.6

13.0

W (cm)

(15.5)

18.1

15.0

13.2

11.7 20.0

4.2

5.0

6.1

6.8

Th (cm)

Measurements

260

470

Wgt (gr.)

Black on white

Black on white Reddish brown on white Reddish brown on white Brown on yellowy white Black on white

Upper part: terracotta Lower part: grey

Black + white pf incrustations Black + red pf incrustations White slip

Colour

TABLE 56(2): CERAMIC INFANT CRADLES, FUNERARY LITTERS, PALANQUINS

HM

HM

HM

HM

HM HM

HM?

HM

M

M

S

S

S

S

S S

S

S

H

H

n/a

n/a

n/a

n/a

n/a n/a

n/a

n/a

2 at sides

2 at sides

Manufacture Air-holes

HM-M S-H

Special Features

See Source

Published

120

120

120

120

119 119

119

119

119

119

Plate

884 (1:2) Bandurria

Fung 1988: Fig.3.2

985 (1:2)

P419 (1:2)

P420 (1:1)

P422 (1:2)

P423 (1:2)

984 (1:3)

P418 (1:2)

P421 (1:2)

P425 (1:1)

984 - Reconstruction

Plate 1: Preceramic Figurines from Bandurria and Aspero (1)

493

P426 (1:1)

P429-Profile

P427 (1:2)

986 (1:2)

P428 (1:2)

986-Reconstr.

P430 (1:2)

P429 (1:2)

P431 (1:2)

Preceramic Figurines from Aspero (2)

P432 (1:2)

P433 (1:2)

P434 (1:2)

P435 (1:2)

P436 (1:2)

Preceramic Figurines from Rio Seco de León

Engel 1966a:Pl.VI.1

P437 (1:2)

Drawing by J. Quilter

Preceramic Figurine from El Paraiso

Plate 2: Preceramic Figurines from Aspero (2), Rio Seco de León and El Paraiso, Chillón Valley 494

2298a (1:2)

2281 (1:2)

2289 (1:2)

2276 (1:2)

2279 (1:2)

2298b (1:2)

2297 (1:2)

2006 (1:2)

2287 (1:2)

2005 (1:2)

2280 (1:2)

2283 (1:2)

2288 (1:2)

2290 (1:2)

2282 (1:2)

2284 (1:2)

2277 (1:2)

2278 (1:2)

2293 (1:2)

Plate 3: Formative Figurines from Ancón Sub-Group 1.1 (1)

495

2291 (1:2)

2294 (1:1)

2286 (1:2)

2285 (1:2)

2002 (1:2)

2285 (1:2)

2295 (1:2)

2292 (1:2)

666 (1:2)

2296 (1:2)

2299 (1:2)

←

Atypical

→ 2308 (1:2)

Formative Figurines from Ancón: Sub-Group 1.1 (2)

2301 (1:2)

2303 (1:2)

2302 (1:2)

2304 (1:2)

2305 (1:2)

Formative Figurines from Ancón: Sub-Group 1.2

Plate 4: Formative Figurines from Ancón Sub-Groups 1.1 (2) and 1.2

496

2300 (1:2)

2306 (2:3)

2003 (2:3)

2307 (2:3)

Formative Figurines from Ancón: Sub-Group 1.3

668 (1:4)

2004 (2:3)

669 (1:4)

Formative Figurines from Ancón: Sub-Group 1.4

P 449 (1:2)

P441 (1:3)

P445

Rimac Valley

2309 (1:2)

P443 (1:2) Lurín Valley

P446 P447 (size unknown) – Curayacu

P438 (1:3)

P439 (1:3)

P440 (1:3)

P444 (1:3)

P448 667 (1:6) - Curayacu

Formative Figurines Group 2:Various sites

Plate 5: Formative Figurines Groups 1(3) and 2

497

2141 (1:3)

2138a (1:3)

Atypical 2139 (1:2)

2217 (1:3)

Cerro Trinidad, Chancay V.

1113 (1:2)

2140 (1:3)

1114 (1:2)

P450 (1:3)

2136a (1:3)

2329 (1:3)

2136b (size?)

2340 (1:2)

Figurines from Huallamarca, Rimac V.

1109 (1:2)

2327 (1:2)

Figurines from Puruchuco, Rimac Valley

Atypical :810 (1:2)

Associated with Middle Cerro

P451 (1:3)

P452 (1:2)

Late Cerro Phase

Figurines from Huachipa, Rimac Valley (1)

Plate 6: Figurines of the Epiformative (1) (Late Formative and early EIP)

498

811 (1:2)

2220 (1:4)

813 (1:2)

P455 (1:2)

P459 (1:2)

1117 (1:2)

1121 (1:2)

Transitional Cerro-Pinazo Phase

814 (1:2)

P456 (1:2)

P460 (1:2)

816 (1:2)

P457 (1:2)

P454 (1:2)

(P458 (1:2)

P461 (1:2)

Pinazo Phase (1)

Figurines from Huachipa, Rimac Valley (2) Plate 7: Figurines of the Epiformative (2)

499

812 (1:2)

819 (1:3)

P453 (1:3)

1123 (1:1)

818 (1:3)

1118 (1:3)

809 (1:3)

1120 (1:3)

Pinazo Phase (2)

1122 (1:2)

1071 (1:2)

P462 (1:3)

1120 (1:3)

1119 (1:3)

P463 (1:1)

P465 (1:3)

Huayco Phase

Figurines from Huachipa, Rimac Valley (3) Plate 8: Figurines of the Epiformative (3)

500

P464 (1:3)

815 (1:3)

808 (1:2)

804 (1:2)

802 (1:2)

806 (1:2)

803 (1:2)

805 (1:3)

807 (1:3)

Figurines from Tablada de Lurín – Excavations of the Instituto Riva Agüero

Plate 9: Figurines of the Epiformative (4)

501

C117 (1:4)

C119 (size unknown)

C118 (1:4)

C120 (1:3)

C121 (1:3)

Figurines from the Necropolis Tablada de Lurín - Excavations Proyecto Tablada PUCP

1753 (1:1)

P465 (size unknown)

Figurine from Pachacamac

Figurine from Quebrada de Chilca (Lapa Lapa Culture)

Plate 10: Figurines of the Epiformative (5)

502

1999 (1:3)

2137 (1:2)

696 (1:4)

Chancay Valley

C122 (1:3)

C125 (1:3)

C123 (1:3)

C124 (1:3)

C126 (1:3)

C127 (1:3)

Chillón Valley

2135 (1:3)

Atypical : 2158 (1:2) 817 (1:3)

C129 (1:3)

C130 (1:3)

Lurín Valley

Rimac Valley

Plate 11: Figurines of the Lima Culture Group 1: Miscellaneous Lima Figurines

503

2361 (1:5)

2221 (1:4)

2224 (1:4)

2225 (1:4)

2222 (1:3)

2227 (1:3)

2226 (1:4)

2223 (1:3)

2228 (1:3)

Plate 12: Figurines of the Lima Culture Group 2: Nascoïd and Associated Figurines 504

2015 (1:2)

633 (1:2)

C128 (1:3)

P466 (1:2)

2336 (1:4)

2328 (1:2)

2229 (1:4)

P468 (Size?)

512 (1:3)

1716 (1:2)

P469 (Size?)

2327 (1:3)

1596 (1:2)

P470 (1:1)

P471 (1:1) Associated

Atypical : 337 (1:3)

Atypical : P467 (Size?)

Plate 13: Figurines of the Lima Culture Group 3: Figurines belonging to or associated with the Nieveria or Maranga Pottery Styles 505

549 (1:3)

C131 (1:3)

800 (1:3)

511 (1:4)

292 (1:3)

1669 (1:3)

SAC 352 (1:3)

SAC 307 (1:3)

Plate 14: Early Middle Horizon Group 1(1) 779 (1:3)

SAC 469 (1:3)

506

1670 (1:3)

828 (1:3)

SAC 351 (1:3)

SAC 309 (1:3)

1083 (1:3)

1655 (1:1)

829 (1:3)

421 (1:3)

1656 (1:1)

1657 (1:1)

Early Middle Horizon Group 1(2) 2120 (1:1)

1909a, b (1:1)

431 (1:3)

Plate 15: Early Middle Horizon Group 1(2) and Sub-Group 2.1: Wari-Pachacamac (1)

507

1533 (1:3)

1518 (1:3)

436 (1:2)

782 (1:3)

451 (1:3)

780 (1:3)

1428 (1:3)

←

Associated

441 (1:3)

→

426 (1:3)

Plate 16: Early Middle Horizon Sub-Group 2.1: Wari-Pachacamac (2)

508

1507 (1:3)

1508 (1:3)

440 (1:3)

518 (1:3)

227 (1:3)

95 (1:3)

442 (1:3)

94 (1:3)

2009 (1:3)

← Atypical →

256 (1:3)

2008 (1:3)

79 (1:4)

1515 (1:2) )

534 (1:3)

← Associated →

Plate 17: Early Middle Horizon Sub-Group 2.2: Wari-Pachacamac-Related Figurines 509

!031 (1:3)

1499 (1:2)

1478 (1:2)

2007 (1:3)

874 (1:3)

P472 (1:3)

96 (1:3)

SAC 279 (1:3)

1219 (1:3)

1506 (1:3)

1055 (1:3)

Plate 18: "Transitional" Early-Late Middle Horizon Group 1 : Miscellaneous Hybrids ←1355 (1:3)

2346 (1:3)→

510

538 (1:3)

830 (1:3)

592 (1:3)

589 (1:3)

SAC 312 (1:2)

1713 (1:3)

1033 ( 1:3)

Atypical: 552 (1:3)

P476 (1:2)

←Associated →

599 (1:3)

Plate 19: "Transitional" Early-Late Middle Horizon Group 2: The Teatino Figurines

511

1983

1984

1982

1986 – Face 1

1985

1435

1986 (1:3)

1986 – Face 2

1988

P473 (Size?)

1987

Plate 20: Late Middle Horizon Group 1: The Supe Figurines (1) Supe area (1) (all 1:3)

512

1719

1720

1679

1176

135

1230

1175

1209

Plate 21: Late Middle Horizon Group 1: The Supe Figurines (2) Supe area (2) (all 1:3)

513

1717

1718

1989

595

831

2037

596

2034

2203 (1:4)

2034/2035

2035

1322

Plate 22: Late Middle Horizon Group 1: The Supe Figurines (3) Huaura/Chancay area (1) (1:3) 514

136

1185

1643

2196

351

1862

2182

663

Figurines from the Huaura and Chancay areas (2)

223

236 (1:2)

2014

P474 (Size ?)

Plate 23: Late Middle Horizon Group 1: The Supe Figurines (4) Huaura/Chancay (2) and Ancón (1) Areas (1:3) 515

2012

2011

P.1415

864 (1:4)

P. 8055 (1:4)

1046

P. 11187 (Size?)

867

1047

P.11200 (Size?) P. 11314 (1:4)

2062

1792 (1:2)

868

355 (1:3)

Plate 24: Late Middle Horizon Group 1: The Supe Figurines (5) Ancón Area (2) (1:3)

516

1453 (1:3)

89 (1:2)

469 (1:3)

672 (1:3)

Ancón Area (3)

1927 (1:3)

1800 (1:3)

2172 (1:3)

1929 (1:3)

354 (1:3)

514 (1:3)

1868 (1:2)

Plate 25: Late Middle Horizon Group 1: The Supe Figurines (6) Ancón Area (3) and Figurines lacking provenance (1)

517

SAC 304 (1:4)

1928 (1:3)

1756 (1:3)

1826 (1:3)

1129 (1:4)

662 (1:3)

201 (1:3)

1278 (1:3)

68 (1:2)

1142 (1:3)

2126 (2:3)

SAC 371 (1:3)

69 (2:3)

1366 (1:3)

2204 (1:4)

664 (1:3)

1863 (2:3)

SAC 406 (1:3)

SAC 381 (1:3)

1303 (1:3)

Plate 26: Late Middle Horizon Group 1: The Supe Figurines (7) Figurines lacking provenance (2) 518

1799 (1:3)

1590 (1:3)

169 (1:3)

161 (1:3)

1591 (1:3)

86 (1:3)

74 (1:3)

525 (1:3)

671 (1:3)

Plate 27: Late Middle Horizon Group 1: The Supe Figurines (8) Figurines lacking provenance (3) 519

1736 (1:2)

1913 (1:3)

774 (1:3)

1812 (1:3)

796 (1:3)

775 (1:3)

882 (1:3)

C 140 (1:3)

Plate 28: Late Middle Horizon Group 1: The Supe Figurines (9) Figurines lacking provenance (4)

520

1787 (1:2)

2001 (1:2)

C141 (1:4)

SAC 283 (1:4)

190 (1:4)

1788 (1:2)

1791 (1:3)

Sub-group 2.1: Supe-Teatino Hybrids

P477 (Size ?)

228 (1:4)

C142 (1:4)

SAC 289 (1:4)

1059 (1:4)

768 (1:4)

SAC 293 (1:5)

1820 (1:3)

Sub-group 2.2: Supe-Huaura Hybrids

SAC 405 (size ?)

1348 (1:5)

1516 (1:5) Hybrid from Pachacamac, Lurín V.

SAC 284 (1:4)

Plate 29: Late Middle Horizon Group 2: Supe-related Hybrids

521

694 (1:3)

1124 (1:3)

561 (1:2)

562 (1:3)

506b (1:1)

2257 (1:3)

2258 (1:3)

P.3874 (1:3)

869 (1:2)

SAC 346 (1:3)

P.1849 (Size?)

259 (1:3)

Sub-group 3.1: "Cats"

1785 (1:2)

1163 (1:3)

P.9752 (1:2)

P.11174 (Size?)

SAC 353 (1:4)

1104 (1:2)

2320 (1:4)

Sub-group 3.2: "Birds, Fish"

Plate 30: Late Middle Horizon Group 3: Anthropo-zoomorphic Figurines ("Cats", "Birds/Fish")

522

695 (1:3)

761 (1:3)

SAC 399 (1:3)

119 (1:3)

P478 (1:3)

1722 (1:3)

660 (1:2)

659 (1:3)

536 (1:2)

1017 (1:3)

Plate 31: Huaura Group 1: Figurines with animal (or mythical?) features and with hands placed on genitals

523

550 (1:3)

1521 (1:4)

2194 (1:4)

658 (1:5)

1182 (1:4)

655 (1:4)

1189 (1:4)

1195 (1:4)

1226 (1:4)

1345 (1:4)

1193 (1:4)

47 (1:4)

SAC 220 (1:4)

573 (1:5)

1194 (1:4)

141 (1:3)

Plate 32: Huaura Sub-Group 2.1: Standard Figurines with folded arms (1)

524

1228 (1:4)

1192 (1:4)

1803 (1:4)

1211 (1:4)

P479 (1:4)

1177 (1:4)

434 (1:4)

4 (1:4)

1338 (1:5)

1183 (1:4)

551 (1:3)

656 (1:5)

1399 (1:4)

1196 (1:4)

SAC 292 (1:4)

197 (1:4)

437 (1:3)

Plate 33: Huaura Sub-Group 2.1: Standard Figurines with folded arms (2)

525

422 (1:4)

657 (1:4)

790 (1:4)

1939 (1:4)

795 (1:4)

P480 (1:4)

1184 (1:4)

SAC 294 (1:4)

P481 (1:4)

1884 (1:4)

SAC 291 (1:4)

140 (1:3)

P482 (1:4)

604 (1:4)

2408 (1:5)

1180 (1:4)

1173 (1:5)

Plate 34: Huaura Sub-Group 2.1: Standard Figurines with folded arms (3)

526

611 (1:4)

613 (1:3)

1222 (1:3)

SAC 368 (1:4)

1945 (1:3)

693 (1:4)

SAC 272 (1:4 )

1813 (1:4)

1188 (1:4)

SAC 467 (1:4)

SAC 1400 (1:4)

P484 (1:4)

SAC 285 (1:4)

SAC 464 (1:5)

SAC 286 (1:4)

2409 (1:6)

Plate 35: Huaura Sub-Group 2.1: Standard Figurines with folded arms (4)

527

678 (1:8)

677 (1:8)

784 (1:6)

Sub-Group 2.1: Figurines with folded arms (5)

1401 (1:4)

1063 (1:3)

1701 (1:3)

SAC 271 (1:3)

2181 (1:3)

542 (1:4)

Sub-Group 2.2: Figurines with two sets of arms

Plate 36: Huaura Sub-Group 2.1: Standard Figurines with folded arms (5); Sub-Group 2.2: Standard Figurines with two sets of arms

528

1018 (1:3)

1224 (1:3)

610 (1:4)

SAC 301 (1:3)

1403 (1:5)

1723 (1:3)

609 (1:4)

SAC 404 (1:4)

SAC 200 (1:3)

1402 (1:5)

SAC 261 (1:5)

SAC 201 (1:3)

SAC 260 (1:5)

Plate 37: Huaura Sub-Group 2.3: Standard Figurines with extended arms (1) 529

SAC 412 (1:6)

SAC 471 (1:6)

586 (1:6)

1070 (1:6)

778 (1:6)

SAC 468 (1:6)

2410 (1:6)

P488 (1:6)

566 (1:6)

P489 (1:6)

Plate 38: Huaura Sub-Group 2.3: Standard Figurines with extended arms (2)

530

606 (1:3)

SAC 249 (1:5)

580 (1:6)

605 (1:3)

608 (1:5)

SAC 248 (1:5)

SAC 097 (1:5)

579 (1:6)

607 (1:5)

1105 (1:4 )

546 (1:5)

548 (1:4)

Plate 39: Huaura Sub-Group 2.3: Standard Figurines with extended arms (3)

531

SAC 449 (1:8)

798 (1:6)

1087 (1:6)

SAC 448 (1:8)

1905 (1:6)

SAC 413 (1:6)

1904 (1:6)

2273 (1:6)

1298 (1:6)

Plate 40: Huaura Sub-Group 2.3: Standard Figurines with extended arms (4)

532

851 (1:5)

1925 (1:3)

352 (1:2)

SAC 443 (1:3)

1285 (1:3)

859 (1:3)

1186 (1:2)

1044 (1:3)

2201 (1:3)

877 (1:3)

2407 (1:4)

SAC 433 (1:3)

Plate 41: Huaura Group 3: Figurines with elongated head

533

692 (1:3)

P490 (size?)

1336 (1:6)

C143 (1:3)

691 (1:3)

1846 (1:2)

2310 (1:3)

2047 (1:3)

553 (1:2)

P491 (1:4)

162 (1:3)

P492 (1:4)

878 (1:3)

Plate 42: Huaura Group 4: Flat, Solid Figurines ("Slabs") (1)

534

1206 (1:3)

691 (1:3)

1191 (1:4)

569 (1:4)

SAC 252 (1:4)

2272 (1:5)

2311 (1:3)

SAC 253 (1:4)

P493 (1:4)

SAC 250 (1:4)

P494 (1:4)

SAC 251 (1:4)

765 (1:7!)

2260 (1:4) 2261 (1:4) 2038 (1:3) ← - - - - - - - - - - - - - - - - - - - - - Atypical- - - - - - - - - - - - - - - - - - - - - - - - - - →

137 (1:3) ← Atypical→557 (1:2)

2103 (1:4) ← Associated →

2319 (1:3)

Plate 43: Huaura Group 4: Flat, Solid Figurines ("Slabs") (2)

535

1710 (1:3) A mythical Huaura personage?

1054 (1:3)

1801 (1:3)

1051 (1:3)

87 (1:3)

501 (1:3)

1711 (1:3)

876 (1:3)

1801 (1:3)

504 (1:3)

1647 (1:3)

Plate 44: Late MH-Early LIP Unaffiliated Figurines Group 1: Related to Supe or Huaura (1)

536

90 (1:3)

1724 (1:3)

556 (1:1)

1316 (1:4)

559 (2:3)

64 (1:4)

1943 (1:4)

Group 1: Late MH-Early LIP Unaffiliated Figurines related to Supe or Huaura (2)

242 (1:2)

98 (1:2)

1821 (1:2)

1902 (1:2)

564 (1:2)

1296 (1:3)

153 (1:2)

Group 2: Miscellaneous Late MH-Early LIP Unaffiliated Figurines

Plate 45: Late MH-Early LIP Unaffiliated Figurines Group 1: Unaffiliated Figurines related to Supe or Huaura (2); Group 2: Miscellaneous Late MH-Early LIP Unaffiliated Figurines

537

1075 (1:4)

675 (1:6)

231 (1:3)

P.7276 (1:3)

1015 (1:3)

143 (1:3)

2243 (1:8)

1462 (1:3)

1512 (1:3)

1134 (1:3)

103 (1:3)

541 (1:4)

409 (1:3)

138 (1:3)

1513 (1:3)

1320 (1:4)

406 (1:3)

Plate 46: Early Chancay Cuchimilcos with folded arms: Sub-group 1.1.1: Red base 3-colour geometric and related wares

538

794 (1:6)

2269 (1:6)

1349 (1:4)

491 (1:3)

1136 (1:3)

799 (1:4)

1062 (1:3)

1208 (1:3)

1179 (1:3)

82 (1:3)

1207 (1:3)

Atypical:

1061 (1:3)

1221 (1:3)

1079 (1:4)

Plate 47: Early Chancay Cuchimilcos with folded arms: Sub-group 1.1.2: White base 3-colour geometric and related wares Atypical: 2411 (1:10)

Atypical: P496 (1:9)

539

2262 (1:8)

SAC 257 (1:4)

144 (1:4)

1540 (1:4)

SAC 218 (1:3)

2247 (1:4)

SAC 179 (1:3)

P497 (size?)

870 (1:4)

59 (1:2)

382 (1:3)

1218 (1:3)

148 (1:3)

196 (1:3)

1363 (1:4)

←Atypical→

2248 (1:4)

438 (1:3)

←Atypical→

←Atypical→

1781 (1:4)

1678 (1:5)

Plate 48: Early Chancay Cuchimilcos with folded arms: Sub-group 1.1.3: Black-on-white ware

540

863 (1:3)

866 (1:3)

1344 (1:3)

1253 (1:3)

1148 (1:3)

1227 (1:3)

862 (1:3)

379 (1:3)

C144 (1:3)

150 (1:3)

2199 (1:3)

SAC 258 (1:3)

708 (1:3)

SAC 262 (1:3)

SAC 259 (1:3)

Atypical: 170 (1:3)

Plate 49 : Early Chancay Cuchimilcos with folded arms: Sub-group 1.1.4: Miscellaneous wares 541

661 (1:3)

1350 (1:4)

225 (1:3)

341 (1:3)

342 (1:3)

1580 (1:3)

378 (1:3)

1026 (1:4)

820 (1:4)

1810 (1:3)

P498 (1:3)

Chancay Sub-group 1.2.2: White base 3-colour geometric and related wares

394 (1:4)

1312 (1:3)

P499 (1:3)

Chancay Sub-group 1.2.3: Black-on-white

P500 (1:3)

P501 (1:3)

Plate 50: Early Chancay Cuchimilcos with two sets of arms: Sub-groups 1.2.2: White base 3-colour geometric and 1.2.3: Black-on-white ware

542

P. 11055 (1:3)

243 (1:3)

1329 (1:6)

164 (1:4)

387 (1:3)

1131 (1:4)

C144b (1:3)

1353 (1:4)

←Atypical →

1782 (1:4)

C145 (1:4)

881 (1:3)

340 (1:3)

1828 (1:3)

Atypical:

←Atypical →

871 (1:3)

1238 (1:6)

Plate 51: Early Chancay Cuchimilcos with two sets of arms: Sub-group 1.2.4: Miscellaneous wares

543

674 (1:4)

1281 (1:4)

1213 (1:4)

Chancay Sub-group 1.3.1: Red base 3-colour geometric wares

P502 (1:8)

77 ( 1:7)

2264 (1:7)

Plate 52 : Early Chancay Cuchimilcos with extended arms Sub-group 1.3.1: Red-base 3-colour geometric Sub-group 1.3.2: White base 3-colour geometric (1) 1448 (1:7)

P486 (1:7)

544

1749 (1:6)

2249 (1:5)

1892 (1:4)

100 (1:5)

53 (1:4)

598 (1:4)

1016 (1:4)

527 (size?)

1019 (1:4)

2157 (1:5)

1536 (1:3)

594 (1:4)

Plate 53: Early Chancay Cuchimilcos with extended arms Sub-group 1.3.2: White base 3-colour geometric (2) 545

2275 (1:10)

1798 (1:4)

358 (1:4)

234 (1:2)

SAC 247 (1: 5)

956 (1:4)

1256 (1:4)

1254 (1:3)

165 (1:5)

1250 (1:4)

2426 (size?)

1802 (1:4)

SAC 364 (1:4)

2412 (1:4)

Plate 54: Early Chancay Cuchimilcos with extended arms Sub-group 1.3.3: Black-on-white ware

546

792/Atyp

232 (1:2)

873 (1:4)

45 (1:4)

1542 (1:4)

368 (1:4)

222 (1:4)

191 (1:4)

1307 (1:3)

145 (1:3)

1212 (1:4)

241 (1:3)

P504 (1:4)

1519 (1:4)

1522 (1:4)

381 (1:3)

151 (1:3)

226 (1:4)

380 (1:4)

Plate 55: Early Chancay Cuchimilcos with extended arms Sub-group 1.3.4: Miscellaneous wares

547

Straight Diagonal (H'dress: 794/ /1.1.2) (Bodies:794, P496/1.1.2) Square-and-dot

Chest, legs overall (2262/1.1.3) Stylized birds

Composite Cross and Dots "Fleur-de-lys" design? (Chest: P495/atyp.1.1.2) (Genital triangle: P495/1.1.2)

Simple Meander (Belt: P496/1.1.2)

Stylized Birds Vertical faja "Interlocking" (birds) (1892/1.3.2) (Genital triangle 2262/1.1.3)

Various Decorative Designs

1

1 Border Design 3 2 Diagonal lines, criss-cross patterns

1

Border Design 5

2 Border Design 2 3 Variants of "Broken-line and dots"

544/1.4.1A

588/1.4.2

4

1 2 Border Design 4 3 4 Squares with steps, with central cross, or unidentified designs

2

1

Headdress Borders

The evolution of face-paint from early to classic Chancay 109/1.4.1A

474/1.4.1A

Simple Composite (various) Cross

Meander-and-Step M. + comp. cross M.-and-step + birds Meander + triangle-and-dot (Faja across chest and belt: P495/1.1.2) (Chest: 77/1.3.2) (Headdress: 541/1.1.1)

Border Design 1 "Chancay Interlocking" (H'dress border, belt: 2262/1.1.3) n

Chest ( P497/1.1.3) Bird Foot

400/1.4.1A

494/1.4.1A

478/1.4.1A

360/1.4.1B

1239/1.4.2

1850//1.4.2

Face-paint

2

Border Design 6

4

Cheek insets Cheek paint 2262/1.1.3 1016/1.3.2

359 /1.4.1A

377 /1.4.1B

1993/1.4.2

Plate 56: Chancay Decorative Designs

548

3

110/1.4.1A

1938/1.4.1B

1419/1.4.2

1333 (1:5)

544 (1:4)

474 (1:5)

1251 (1:4)

1992 (1:5)

1430 (1:5)

109 (1:5)

1245 (1:5)

26 (1:5)

110 (1:5)

1246 (1:5)

1463 (1:5)

2165 (1:5)

Plate 57: Chancay Sub-group 1.4.1A: Small Classic Black-on-White Cuchimilcos With heads wider than high (1)

549

567 (1:5)

1547 (1:5)

1997 (1:5)

SAC 360 (1:5)

1248 (1:4)

1998 (1:5)

50 (1:5)

54 (1:4)

SAC 255 (1:5)

400 (1:5)

416 (1:5)

52 (1:4)

1465 (1:4)

43 (1:6)

118 (1:5)

SAC 358 (1:4)

Plate 58: Chancay Sub-group 1.4.1A: Small Classic Black-on-White Cuchimilcos With heads wider than high (2)

550

470 (1:4)

515 (1:6)

359 (1:5)

1458 (1:5)

485 (1:4)

475 (1:4)

477 (1:4)

396 (1:4)

494 (1:5)

117 (1:4)

476 (1:5)

478 (1:4)

1602 (1:4)

1598 (size?)

55 (1:3)

1356 (1:5)

C146 (1:3)

200 (1:5)

P505 (size?)

1605 (1:4)

SAC 276 (1:4)

1304 (1:4)

Plate 59: Chancay Sub-group 1.4.1A: Small Classic Black-on-White Cuchimilcos with heads wider than high (3) 551

832 (1:3)

489 (1:3)

1370 (1:3)

1315 (1:4)

SAC 357 (1:5)

P522 (1:4)

SAC 222 (1:4)

1634 (1:5)

1365 (1:3)

398 (1:3)

2386 (1:6)

495 (1:5) Atypical

Atypical

568 (1:5)

1917 (1:5)

Plate 60: Chancay Sub-group 1.4.1A: Small Classic Black-on-White Cuchimilcos with heads wider than high (4) 552

1244 (1:5)

v

843 (1:3)

839(1:4)

480 (1:4)

80 (1:5)

1579 (1:5)

1990 (1:4)

1398 (1:4)

176 (1:4)

1168 (1:4)

3 (1:4)

484 (l:5)

1169 (1:5)

1167 (1:4)

230 (1:4)

233 (1:4)

1539 (1:5)

1938 (1:4)

Plate 61: Chancay Sub-group 1.4.1B: Small Classic Black-on-White Cuchimilcos with heads higher than wide (1)

553

836 (1:3)

30 (1:3)

1819 (1:3)

1599 (size?)

377 (1:4)

1932 (1:3)

58 (1:3)

121 (1:4)

362 (1:3)

1793 (1:3)

1541 (1:3)

1360 (1:4)

65 (1:4)

492 (1:3)

412 (1:3)

1942 (1:3)

1255 (1:3)

402 (1:3)

1853 (1:4)

Plate 62: Chancay Sub-group 1.4.1B: Small Classic Black-on-White Cuchimilcos With heads higher than wide (2)

554

1543 (1:4)

360 (1:4)

71 (1:4)

P506 (1:4)

526 (1:3)

2000 (1:3)

P507 (1:4)

142 (1:4)

1243 (1:5)

487 (1:4)

493 (1:4)

← Atypical→

1461 (1:3)

1080 (1:3)

842 (1:2)

1321 (1:4)

←Atypical→ C147a (1:3)

Plate 63: Chancay Sub-group 1.4.1B: Small Classic Black-on-White Cuchimilcos With heads higher than wide (3)

555

2061

P509

SAC 458

1994

1444

1794

P508

P510

SAC 451

587

1604

Plate 64 : Chancay Sub-group 1.4.2: Large Classic Black-on-White Cuchimilcos (1) (all 1:10, unless otherwise stated) 556

2164

1861

1850

SAC 463 (1:15)

461

SAC 457 (1:15)

1795

2418

P512

P513

116

SAC 452

Plate 65 : Chancay Sub-group 1.4.2: Large Classic Black-on-White Cuchimilcos (2) (all 1:10, unless otherwise stated)

557

1993

SAC 459 (1:12)

2427

1233

P516-P517

P514

SAC 454

2419

588

1851

1922

204

Plate 66 : Chancay Sub-group 1.4.2: Classic Black-on-White Cuchimilcos (3) (all 1:10, unless otherwise stated)

558

463

P521

1419 (1:8)

1239

2387

2421

1924

460

2388

1150

SAC 460 (1:14)

245

2420

SAC 461 (1:12)

Plate 67 : Chancay Sub-group 1.4.2: Large Classic Black-on-White Cuchimilcos (4) (all 1:10, unless otherwise stated)

559

2251

P524

2244

2252

P526

P525

2242

2322 (size ?)

1310

154

2266

2422

583

SAC 246 (1:8)

SAC 359 (1:8)

572 (1:7)

Plate 68 : Chancay Sub-group 1.4.3: "Baroque" Black-on-White Cuchimilcos (1) (all 1:10, unless otherwise stated)

560

2321 (size ?)

578

582

698

Face-paint: 2251

1237

575 (1:8)

Headband: P524 1310 (see above: Plate 68)

2265

P528 (size?)

Atyp.: P523 (1:6)

Cheek P526

583

Chancay Sub-group 1.4.3 - "Baroque" Black-on-White Cuchimilcos (2)

P530

P531 2253

2423

P530

← couple → P531

Chancay Sub-group 1.5.1 – Early Chancay-Huaura Cuchimilcos (1)

Plate 69 : Chancay Sub-groups 1.4.3: "Baroque" Black-on-White Cuchimilcos (2); 1.5.1: Chancay-Huaura Cuchimilcos (1)

561

1407

← couple →

1408

Sub-group 1.5.1 – Early Chancay-Huaura Cuchimilcos (2)

155 (couple with 156 below)

156 (couple with 155 above)

1635 ← couple → P532

325

1633

1090

1.5.2A - Chancay-Huaura Cuchimilcos (1)

P533 (size?)

Plate 70: Chancay Sub-groups 1.5.1: Early Chancay-Huaura Cuchimilcos (2) 1.5.2A : Typical Chancay-Huaura Cuchimilcos (1) (All 1:10, unless otherwise stated)

562

P534 (size?)

29

1127 (1:8)

P535 ← couple → P536

2245 ← couple → 2246

P538 ← couple → P539

1741 (1:8)

← couple →

459 (1:8)

1445

1740 (1:8)

2267 (1:15)

← couple →

← couple →

326 (1:8)

P537

1446

2268 (1:15)

Plate 71: Chancay Sub-group 1.5.2A: Typical Chancay-Huaura Cuchimilcos (2) (All 1:10, unless otherwise stated)

563

571

Atypical: 776

Associated: 2274 (1:12) Associated: 2241 (1:6)

Sub-group 1.5.2A – Chancay-Huaura Cuchimilcos (3)

1234

1236

P541

← couple ? →

← couple →

2036

1235

524

P542

P543

Sub-group 1.5.2B – Chancay-Huaura Cantores (1)

1811 (1:8)

581

Plate 72: Chancay Sub-groups 1.5.2A: Typical Chancay-Huaura Cuchimilcos (3) 1.5.2B: Chancay-Huaura Cantores (1)

564

(All 1:10, unless otherwise stated)

581 (back)

1089 (1:8)

2424 (1:10)← couple? →2425 (1:10)

2254 (1:8)

P546 (1:10)

1146 (1:7)

Atypical: 1796 (1:6)

577 (1:6)

584 (1:12)

P540 (1:10)

1866 (1:6)

Atypical :797 (1:6)

Atypical : 457 (1:7)

Plate 73: Chancay Sub-group 1.5.2B: Chancay-Huaura Cantores (2)

565

1257 (1:8)

576 (1:10)

793 (1:8)

456 (1:8)

Sub-group 1.5.2C – Chancay Cuchimilcos with Chancay-Huaura features

1305 (1:6)

1282 (1:7)

1359 (1:6)

1936 (1:6)

; SAC 373 (1:7)

SAC 350 (1:3)

1921 (1:6)

1147 (1:7)

111 (1:6)

1915 (1:4)

SAC 431 (1:6)

1174 (1:6)

1225 (1:6)

1743 (1:4)

1.5.3 – Cuchimilcos of a Chancay-Huaura related sub-style ("Jecuan" style)

Plate 74: Chancay Sub-groups: 1.5.2C: Chancay Cuchimilcos with Chancay-Huaura features; 1.5.3: Cuchimilcos of the ChancayHuaura related "Jecuan" sub-style

.

SAC 466 (1:6)

51 (1:6)

566

841 (1:4)

369 (1:5)

1510 (1:4)

1358 (1:4)

1357 (1:4)

1437 (1:3)

124 (1:3)

413 (1:4)

1546 (1:5)

432 (1:4)

490 (1:4)

P547 (1:4)

1217 (1:3)

414 (1:4)

479 (1:3)

1025 (1:4)

1437 (1:3)

1384 (1:2)

Plate 75: Chancay Cuchimilcos of phases 3 and 4 in red wares: Sub-group 1.6.1A: Medium sized,

mold-made, mostly hollow figurines (1)

1827 (1:3)

1317 (1:4)

567

370 (1:4)

1544 (1:4)

2013 (1:3)

1595 (1:4)

C155 (1:3) Associated

1481 (1:4)

407 (1:3)

361 (1:3)

Sub-group 1.6.1A – Medium sized, mold-made, mostly hollow figurines (2)

1748 (1:7)

247 (1:8)

106 (1:7)

1088 (1:7)

248 (1:9)

253(1:7)

P548 (1:8)

Sub-group 1.6.1B: Larger, mold-made, hollow and/or sitting figurines (1)

Plate 76: Chancay cuchimilcos of phases 3 and 4 in red wares - Sub-groups 1.6.1A (2) and 1.6.1B (1) 568

642 (1:7)

880 (1:4)

31 (1:3)

1056 (1:4)

507(1:5)

2318 (1:6)

1545 (1:4)

2184 (1:5)

373 (1:5)

374 (1:4)

1318 (1:5)

Sub-group 1.6.1B: Larger, mold-made, hollow and/or sitting figurines (2)

348 (1:3)

397 (1:3)

801 (1:4)

1941 (1:2)

2063 (1:2)

235 (1:1)

238 (1:2)

384 (1:2)

364 (1:3)

1700 (1:5)

157 (1:3)

Chancay Sub-group 1.6.1C : Small, solid figurines, made of one mold or hand-made

Plate 77: Chancay cuchimilcos in red wares - Sub-groups 1.6.1B (2) and 1.6.1C 569

1636 (1:3)

1440 (1:4)

279 (1:3)

1387 (1:3)

283 (1:3)

280 (1:4)

826 (1:3)

Sub-group 1.6.2A: Medium sized, mold-made, mostly hollow figurines

574 (1:8)

1467 (1:6)

1421 (1:8)

P550 (1:8)

1369 (1:3)

509 (1:7)

1466 (1:5)

502 (1:5)

P551 (1:8)

Sub-Group 1.6.2B: Larger, mold-made, hollow and/or sitting figurines (1)

Plate 78: Chancay Cuchimilcos of phases 3 and 4 in black or black-slipped wares: Sub-groups 1.6.2A and 1.6.2B (1)

570

249 (1:8)

115 (1:3)

2413 (1:8)

777 (1:8)

781 (1:5)

115 (1:3)

1745 (1:4)

Sub-Group 1.6.2B: Larger, mold-made, hollow and/or sitting figurines (2)

827 (1:8) ← Atypical →

P549 (1:12)

1727 (1:3)

Sub-Group 1.6.2B

563 (1:3)

14 (1:3)

500 (1:3)

P553 (size?)

1728 (1:3)

P554 (1:3)

Sub-group 1.6.2c: Small, solid figurines, made of one mold or hand-made

Plate 79: Chancay Cuchimilcos of phases 3 and 4 in black or black-slipped wares: Sub-groups 1.6.2B (2) and 1.6.2C 571

357 (1:3)

700 (2:3)

1220 (1:3)

473 (1:4)

67 (2:3)

P555 (1:4)

Chancay Sub-group 2.1

1027

2044 (1:3)

1077 (1:5)

1292 (1:2) C 147b (1:2)

195 (1:3)

Chancay Sub-group 2.2

1027 (1:4)

834 (1:3)

1076 (1:5)

2250 (1:6)

Plate 80: Early Chancay Figurines with Elongated Head: Sub-group 2.1 with Folded Arms; Sub-group 2.2 with Extended Arms

572

835 (1:3)

844 (1:2)

838 (1:3)

237 (1:2)

837 (1:3)

350 (1:2)

585 (1:10)

845 (1:3)

1379 (1:2)

1377 (1:2)

849 (1:10)

1232 (1:10)

P557 (1:10)

P556 (1:10)

2414 (size?)

Plate 81: Chancay Sub-group 2.3: Classic Black-on-White Figurines with Elongated Head (1)

573

1283 (1:4)

886 (1:4)

1313 (1:4)

1937 (1:4)

472 (1:5)

1832 (1:4)

1470 (1:5)

P559 (1:5)

1367 (1:3)

1893 (1:5)

399 (1:4)

1368 (1:3)

499 (1:4)

1386 (1:3)

C148 (1:4)

1149 (1:2)

C149 (1:4)

Plate 82: Chancay Sub-group 2.3: Classic Black-on-White Figurines with Elongated Head (2)

574

1030 (1:4)

1135

SAC 398 (1:10)

1906 (1:3)

840 (1:3)

72 (1:4)

SAC 356 (1:4)

5 (1:4)

1078 (1:4)

57 (1:4)

1135 (1:4)

1797 (1:4)

1028 (1:5)

1433 (1:4)

366 (1:4)

Plate 83: Chancay Sub-group 2.3: Classic Black-on-White Figurines with Elongated Head (3)

575

SAC 349 (1:3)

2415 (1:3)

1535 (1:4)

2322 (Size?)

486 (1:3)

393 (1:2)

392 (1:3)

SAC 208 (1:3)

1126 (1:5)

1996 (1:4)

SAC 278 (1:3)

486 (1:3)

1918 (1:4)

1732 (1:4)

Plate 84: Chancay Sub-group 2.3: Classic Black-on-White Figurines with Elongated Head (4)

576

1603 (Size?)

1159 (1:4)

62 (1:4)

1187 (1:4)

1187 (1:4)

410 (1:3)

139 (1:3)

1340 (1:3)

Chancay Sub-group 2.3: Classic Black-on-White Figurines with Elongated Head (5)

25 (1:5)

1029 (1:5)

1064 (1:5)

1919 (1:5)

1859 (1:3)

Sub-group 2.4:Chancay-Huaura Figurines with Elongated Head (1)

Plate 85: Chancay Sub-group 2.3: Classic Black-on-White Figurines with Elongated Head (5) Sub-group 2.4:Chancay-Huaura Figurines with Elongated Head (1)

577

1935 (1:5)

1447 (1:5)

Sub-Group 2.4: Chancay-Huaura Figurines with Elongated Head (2)

1337 (1:2)

1754 (1:2)

1385 (1:2)

1223 (1:3)

7 (1:3)

Sub-group 2.5.1: Chancay Figurines with Elongated Head in Red ware

282 (1:3)

281 (1:4)

2064 (1:4)

Sub-group 2.5.2: Chancay Figurines with Elongated Head in Blackware (1)

Plate 86: Chancay Sub-groups 2.4 (2), 2.5.1, 2.5.2 (1) 578

1376 (1:2)

P562 (1:2)

555 (1:2)

SAC 310 (1:2)

1725 (1:2)

1726 (1:2)

1495 (1:2)

P561 (1:2)

1306 (1:3)

Sub-group 2.5.2 : Figurines with Elongated Head in Blackware (2)

1747 (1:10)

2190 (1:10)

1242 (1:6)

767 (1:10)

2270 (1:10)

Sub-Group 2.6: Special Chancay Figurines with Elongated Head

Plate 87: Chancay Sub-groups 2.5.2: Figurines with Elongated Head in Blackware (2) and 2.6: Special Figurines with Elongated Head 579

44 (1:4)

66 (1:4)

376 (1:4)

1102 (1:4)

1464 (1:4)

1314 (1:2)

1916 (1:4)

539 (1:3)

593 (1:4)

1991 (1:4)

1103 (1:4)

2416 (1:3)

508 (1:4)

SAC 354 (1:4)

408 (1:3)

1995 (1:4)

1319 (1:5)

Plate 88: Chancay Sub-group 3.1: The Chancay "Witch" – Black-on-White (1) 580

C150 (1:4)

488 (1:2)

SAC 355 (1:4)

SAC 375 (1:5)

2255 (1:5)

1537 (1:3)

61 (1:3)

2417 (1:5)

P565 (1:7)

1538 (1:3)

2046 (1:3)

C151 (1:4)

590 (1:5)

Plate 89: Chancay Sub-group 3.1: The Chancay "Witch" – Black-on-White (2)

581

885 (1:3)

1081 (1:3)

2271 (1:6)

1894 (1:4)

2256 (1:5)

Sub-group 3.1 (3): The Chancay "Witch" – Black-on-White - Atypical

SAC 361 (1:4)

411

SAC 256 (1:4)

328 (1:5)

254 (1:4)

411 (1:4)

334 (1:4)

Sub-group 3.2.1 (1): The Chancay "Witch" – Red ware

Plate 90: Chancay Sub-groups 3.1: The Chancay "Witch" – Black-on-White (3); 3.2.1: The Chancay "Witch" – Red ware (1) 582

329 (1:4)

388 (1:4)

1475 (1:4)

375 (1:3)

Sub-group 3.2.1 (2): The Chancay "Witch" – Red ware

1744 (1:3)

591 (1:4)

1143 (1:3

Atypical: C152 (Size ?)

Sub-group 3.2.2 : The Chancay "Witch" – Black ware

498 (1:3)

SAC 273 (1:3)

Chancay Group 4: The "Attendant" (1)

497 (1:3)

Plate 91: Chancay Sub-groups 3.2.1 : The Chancay "Witch"– Red ware (2); 3.2.2 : The Chancay "Witch"– Black ware; Group 4 : The "Attendant" (1) 583

1704 (1:4)

481 (1:3)

83 (1:2)

SAC 369 (1:3)

SAC 265 (1:2)

273 (1:2)

149 (1:3)

2200 (1:3)

85 (2:3)

1606 (1:3)

482 (1:3)

1383 (1:3)

SAC 423 (1:3)

2313 (1:3)

1138 (1:3)

2314 (1:3)

Atypical : 471 (1:4)

Plate 92: Chancay Group 4 : The "Attendant" (2)

584

SAC 324 (1:2)

63 (1:3)

533 (1:2)

← Associated→

532 (1:2)

← Associated →

C153 (scale?)

Chancay Group 4 : "The Attendant" (3)

1069 (1:2)

603 (1:2)

1450 (1:2)

C 144c (1:2)

Chancay Group 5 : Personage with Helmet

275 (1:2)

Plate 93: Chancay Group 4 : The "Attendant" (3); Group 5 : Personage with Helmet

585

1372 (1:2)

12 (1:2)

SAC 341 (1:2)

1847 (1:2)

2312 (1:2)

554 (1:2)

1491 (1:2)

2259 (1:2)

565 (1:2)

872 (1:2)

Sub-group 6.1a: "Black-on-white"

1593 (1:3)

81 (1:3)

372 (1:3)

Plate 94: Chancay Group 6 : Small, crudely made figurines ("Spooks") Sub-group 6.1a: "Black-on-white"; Sub-group 6.1b: Traces of white slip (1)

586

229 (1:2)

1457 (1:3)

339 (1:2)

1583 (1:2)

1940 (2:3)

84 (2:3)

240 (1:2)

1496 (1:2)

1380 (1:2)

385 (1:2)

699 (1:2)

152 (1:2)

C147c (1:2)

363 (1:2)

405 (1:2)

1489 (2:3)

Plate 95: Chancay Group 6 : Small, crudely made figurines ("Spooks") Sub-group 6.1b: Traces of white slip (2)

587

13 (2:3)

1423 (2:3)

11 (2:3)

452 (1:2)

1497 (1:2)

833 (1:2)

163 (1:2)

Sub-group 6.2: Red ware figurines

365 (1:2)

C154 (2:3)

349 (1:2)

1374 (2:3)

1373 (2:3)

519 (1:3)

1473 (1:3)

558 (2:3)

Sub-group 6.2: Blackware figurines

P.11053 (1:2)

Plate 96: Chancay Group 6 : Small, crudely made figurines ("Spooks") Sub-group 6.2: Red ware figurines; Sub-group 6.3: Blackware figurines 588

56 (1:2)

517 (1:2)

1582 (1:3)

70 (1:2)

1477 (1:2)

1472 (1:2)

425 (1:3)

323 (1:2)

1252 (1:3)

547 (1:3)

1339 (1:3)

Plate 97: Chancay Group 7 : The Anthropomorphic Monkey

589

M12 (1:3)

M13 (1:3)

M 17 (1:5)

M12/M13

M12/M13: Plaster casts

M 30 (1:5)

M 8 (1:4)

M 35 (1:5)

Molds belonging to Chancay Sub-group 1.1 (Early cuchimilcos with folded arms)

M 28 (1:2) M 29

M 25 (1:5)

M 16 (1:2)

MP 8 (1:4)

Molds belonging to Chancay Sub-group 1.4 (Classic cuchimilcos with extended arms)

Plate 98: Chancay Molds (1)

590

M 9 (1:3) M 10 (1:3) M 9/M 10 MP 1 (1:3) Molds to Chancay Sub-group 2.1 (Early figurines, elongated head, folded arms)

M 14 (1:3)

M 15 (1:3)

M 14/M 15

P667 (1:4)

M 14/M15 – Plaster Casts

Molds to Chancay Sub-group 2.3 (Classic figurines with elongated head and extended arms)

M 1 (1:3)

M 27 (1:3)

M6 (1:3)

M 7 (1:3)

Molds to Chancay Group 4: The "Attendant"

M 20 (1:4)

M 40 (1:3)

Chancay Group 5: "Personage with Helmet"

Plate 99: Chancay Molds (2) 591

M 26 a, b (1:4)

M 39 (1:4)

Unaffiliated (probably Chancay)

C 145b (1`:2)

C 156 (1:1)

600 (1:3)

465 (1:2)

P566 (1:6)

371 (1:4)

1920 (1:4)

338 (1:3)

75 (1:5)

510 (1:7)

1084 (1:3)

17 (1:2)

1024 (1:4)

612 (1:3)

Plate 100: LIP (and LH?) Unaffiliated Figurines – mostly Chancay-related

592

1020 (1:4)

423 (1:4)

198 (1:3)

1517 (1:4)

1468 (1:4)

468 (1:3)

290 (1:4)

1614 (1:4)

505 (1:4)

1480 (1:4)

1808 (1:4)

Plate 101: Late MH-Early LIP Figurines from the Rimac and Lurín Valleys: Ychsma Group 1 (1)

593

1524 (1:4)

333

P568 (Size?)

2383 (size?)

Atyp. 449 (1:3)

433 (1:5)

C165 (1:4)

1715 (1:3)

1584 (1:4)

353

2339 (1:4)

427 (1:5)

1427 (1:4)

333 (1:3)

1814 (1:4)

91 (1:3)

513 (1:4)

Atyp. 424 (1:4) Atyp. 35 (1:4)

P569 (size?)

Atyp. 353 (1:3)

Atypical: 1514 (1:3)

Plate 102: Late MH-Early LIP Figurines from the Rimac and Lurín Valleys: Ychsma Group 1 (2) 594

P570 (Size?)

P571 (1:4)

P573 (size ?)

Maranga

2215 (1:4)

2214 (1:5)

2323 (1:4)

Huaca Pucllana

2216 (1:4)

2338 (1:4)

C157 (1:3)

2345 (1:6)

2335 (1:4)

2334 (1:4)

Pedreros

704 (1:3)

Cajamarquilla

2232 (1:4)

2231 (1:4)

San Juan de Pariachi

2360 (1:5)

2236 (1:3)

Huallamarca

702 (1:3)

El Sauce

2218 (size?)

P574 (size ?)

1382 (1:2)

2333 (1:4)

Plate 103: Ychsma Sub-Group 2.1A : LIP and LH Figurines with documented provenances from the Rimac Valley (1) 595

1664 (1:2)

Vista Allegre

1110 (1:2)

Puruchuco

701 (1:4)

Rinconada La Molina

2207 (1:3)

2209 (1:4)

703 (1:3)

2235 ( 1:3)

2205 (1:4)

2211 (1:3)

1772 (1:8)

1774 (1:8)

2330 (1:2)

Huaquerones

2206 (1:3)

La Puruchuca

2210 (1:4)

Armatambo

2212 (1:3)

2208 (1:3)

2213 (1:4)

1773 (1:8)

1775 (1:7)

1776 (1:7)

Plate 104: Ychsma Sub-Group 2.1A : LIP and LH Figurines with documented provenances from the Rimac Valley (2) 596

1777 (1:6)

1778 (1:6)

Armatambo

1771 (1:6)

1436 (1:2)

Ychsma Sub-Group 2.1A : Figurines with documented provenances from the Rimac Valley (3)

1454 (1:2)

317 (2:3)

1378 (1:2)

347 (1:5)

1434 (1:3)

404 (1:2)

1831 (1:4)

419 (1:5)

403 (1:2)

1835 (1:5)

466 (1:4)

270 (1:3)

1830 (1:5)

343 (1:4)

Ychsma Sub-Group 2.1B : Figurines with undocumented provenances from the Rimac Valley Plate 105: Ychsma Sub-Groups 2.1A and 2.1B : LIP and LH Figurines with provenances from the Rimac Valley

597

1424 (2:3)

1425 (2:3)

1494 (1:3)

P575 (Size?)

2239 (Size?)

2234 (1:3)

1479 (1:3)

1509 (1:3)

1752 (2:3)

C158 (size?)

C159 (size?)

2240 (1:2)

M42 (1:3)

1750 (1:3)

C160 (size?)

2233 (1:3)

2230 (1:4)

1490 (1:3)

1751 (1.3)

2232 (1:3)

2238 (Size?)

2237 (1:3)

2231 (1:3)

M43 (1:4)

P583 (size?)

Plate 106: Ychsma Sub-Group 2.2A: LIP and LH Figurines with documented provenances from the Lurín Valley(1): a. Miscellaneous Figurines from Pachacamac (1)

598

C161 (1:3)

Shi-a1(1:2)

Shi-a8 (1:2)

Shi-a15 (1:2)

Shi-b3 (1:3)

C162 (1:3)

C163 (1:4)

C164 (1:4)

a. Miscellaneous Figurines from Pachacamac (2)

Shi-a2 (1:2)

Shi-a9 (1:2)

Shi-a3 (1:2)

Shi-a10 (1:3)

Shi-a16 (1:3)

Shi-b4 (1:3)

Shi-a4 (1:2)

Shi-a11 (1:3)

Shi-a5 (1:3)

Shi-a12 (1:3) Shi-a13 (1:3) Shi-a14 (1:2)

Shi-b1 (1:3)

Shi-b5 (1:3)

Shi-a6 (1:3) Shi-a7 (1:3)

Shi-b2 (1:3)

Shi-b6 (1:4)

C-Shi-Ph1 (1:3)

C-Shi-Ph2 (1:3) C-Shi-Ph3 (1:3) C-Shi-Ph4 (ca 2:3)

b. Pachacamac: Figurines from Plaza de los Pelegrinos

Plate 107: Ychsma Sub-Group 2.2A: LIP and LH Figurines with documented provenances from the Lurín Valley(2): a. Miscellaneous Figurines from Pachacamac (2); b. Pachacamac: Figurines from Plaza de los Pelegrinos 599

PV1 (1:2)

PV38 (1:2)

PV8 (1:4)

PV9 (1:2)

PV42 (1:2)

PV44 (2:3)

PV3 (1:2)

PV25 (2:3)

PV75 (2:3)

PV16 (1:3)

PV46 (1:4)

PV66 (1:3)

PV104 (1:3)

PV19 (1:1)

PV87 (1:2)

PV30 (1:3)

PV34 (1:3)

PV84 (1:2) PV100 (1:3) PV108 (1:2) PV116 (1:2)

Head and Upper Body Fragments

PV6 (1:2)

PV26 (1:2)

PV81 (1:2)

Complete Figurines

PV15 (1:2)

PV28 (2:3)

PV17 (1:2)

PV43 (1:2)

PV69 (1:2)

PV82 (1:3)

PV105 (1:4)

PV109 (1:2)

PV86 (1:3)

PV56 (1:2)

PV24 (1:2)

PV62 (1:3)

PV93 (1:3) PV101 (1:3) PV102 (1:3)

PV115 (1:2)

Body Fragments

PV18 (1:2)

PV118 (1:3)

P578 (1:2)

Plate 108: Ychsma Sub-group 2.2A: c1. Ychsma Figurines from Pueblo Viejo-Pucará, Lurín Valley

600

PV7 (2:3)

PV2 (1:2)

PV91 (1:2)

PV36 (1:2)

P580 (1:2)

PV12 (1:2)

PV21 (1:3)

PV99 (1:2)

PV98 (1:2)

PV13 (1:2)

PV22 (1:2)

PV64 (1:2)

PV94 (1:2)

PV97 (1:2)

Complete Figurines

PV5 (1:2)

PV20 (2:3)

PV53 (1:2)

PV11 (2:3)

PV68 (1:1)

PV95 (2:3)

PV96 (1:2)

Head Fragments

PV14 (1:1)

PV23 (1:2)

PV33 (1:2)

PV83 (1:2)

PV114 (2:3)

PV85 (1:2)

PV119 (1:2)

PV103 (1:2

P579 (1:2)

P581 (1:3)

P582 (1:1)

Plate 109: Ychsma Sub-group 2.2A: c2. "Associated" non- Ychsma figurines from Pueblo Viejo-Pucará, Lurín Valley

601

P576 (1:2)

P577 (1:3)

P584 (1:2)

P585 (1:2)

P586 (1:2)

Panquilma d. Figurines from other sites in the Lurín Valley

1443 (1:4)

123 (1:3)

496 (1:4)

1815 (1:4)

258 (1:5)

1429 (1:4)

P587 (2:3)

Avillay

M35 (1:4)

322 (1:2)

Ychsma Sub-Group 2.2B:Figurines with undocumented provenances from the Lurín Valley

417 (1:5)

252 (1:8)

623 (1:7)

251 (1:7)

Late Horizon Group 1.1A: Large, hollow figurines with extended arms (1)

Plate 110: Ychsma Sub-Group 2.2A: Figurines with documented provenances from the Lurín Valley(5): d. Figurines from various other sites in the Lurín Valley. Ychsma Sub-Group 2.2B: Figurines with undocumented provenances from the Lurín V. Late Horizon Sub-Group 1.1A: Large, hollow figurines with extended arms (1) 602

251 (1:7)

521

205 (1:8)

522 (1:7)

1301 (1:4)

543

P588 (1:7)

1632 (1:7)

1742 (1:7)

1299 (1:7)

1302 (1:4)

1474 (1:6)

2189 (1:6)

521 (1:8)

443 (1:7)

543 (1:5)

1455 (1:3)

Plate 111: Late Horizon Sub-Group 1.1A: Large, hollow figurines with extended arms (2)

603

1300 (1:6)

462 (1:6)

239 (1:9)

246 (1:7)

1330 (1:7)

250 (1:8)

1145 (1:7)

244 (1:7)

401 (1:3) →

604

454 (1:7)

1347 (1:6)

Plate 112: Late Horizon Sub-Group 1.1B: Large, hollow figurines with folded arms ←1342 (1:4)

1346 (1:7)

1746 (1:3)

879 (1:3)

523 (1:4)

203 (1:3)

520 (1:4)

97 (1:3)

LH Sub-groups 1.1A – 1.1B: Head Fragments

570 (1:6)

1816 (1:6) )

458 (1:6)

857 (1:5)

1608 (1:6)

858 (1:5)

506a (1:5)

1048 (1:5)

1343 (1:5)

Plate 113: Late Horizon Sub-Groups 1.1A- 1.1B: Head Fragments; Late Horizon Sub-Group 1.2A: Figurines made of one (frontal) mold, hollow. ←1523 (1:5)

93 (1:6) →

605

346 (1:4)

420 (1:4)

224 (1:3)

1198 (1:3)

1696 (1:5)

860 (1:4)

861 (1:4)

344 (1:3)

1511 (1:3)

345 (1:3)

277 (1:3)

Plate 114: Late Horizon Sub-Group 1.2B: Figurines made of one frontal mold only, solid (1)

606

2010 (1:4)

274 (1:3)

278 (1:3)

P589 (1:3)

1460 (1:3)

1309 (1:4)

1311 (1:4)

1520 (1:3)

386 (1:4)

1362 (1:3)

418 (1:4)

1144 (1:4)

166 (1:4)

6 (1:3)

182 (1:4)

41 (1:4)

Atypical: 2384 (1:4)

1308 (1:5)

1130 (1:4)

Atypical: 467 (1:4)

Plate 115: Late Horizon Sub-Group 1.2B: Figurines made of one frontal mold only, solid (2) 607

1684 (2:3)

314

455

P590

1654

1618

1422 (2:3)

1249

286

276 (2:3)

1652

1171 (2:3)

1712 (1: 3)

285 (2:3)

2124 (2:3)

383

1631

2095 (2:3)

1875 (1: 2)

395 (1:3)

1873 (2:3)

Plate 116: Late Horizon Sub-Group 1.2C: Miniature figurines made of one frontal mold only, solid; (1:1 unless otherwise specified)

Late Horizon Group 2: Figurines with elongated head Atypical.: 2385 (1:4)

Atypical : 1874 (2:3)

608

1133 (1:3)

2393 (1:4)

40 (1:3)

1050 (1:4)

Late Horizon Group 3: "Specials"

540 (1:3)

2133

187 (1:3)

2060 (1:3)

503 (1:3)

1452 (1:3)

1705 (1:3)

2133 (1:3)

2132 (1:2)

Plate 117: Late Horizon Group 3: "Specials"; Figurines on Ceramic Cradles 609

P.10326 (1:4)

1834 (1:4)

1022 (1:5)

P591 (size?)

1807 (1:4)

389 (1:3)

1023 (1:5)

2134

P592 (size?)

535 (1:4)

1021 (1:4)

390 (1:3)

439 (1:3)

1581 (1:3)

2134 (1:3)

415 (1:3)

Plate 118: Figurines on Funerary Litters (1)

610

260 (1:4)

262 (1:3)

464 (1:4)

1488 (2:3)

Figurines on Funerary Litters (2)

P593 (1:4)

602 (1:4)

Plate 119: Figurines Funerary Litters (2) and on "Palanquins" (1) 611

601 (1:2)

1857 (1:2)

1082 (1:2)

1098 (1:2)

No.1: Anton 1972: no. 220

No.2: Rautenstrauch-Joest-Museum No.3 ← Lavalle and Lang 1982:55→No.4 1959: Tafel 67, no.808

Plate 120: Figurines on "Palanquins" (2)

612

613

CHART 1: COMPARATIVE CHRONOLOGY OF THE EARLY AND MIDDLE FORMATIVE PERIOD

614

300

200

100

AD/BC

100

200

300

400

500

600

L a t e F o r m.

P e r i o d

I n t e r m e d i a t e

E a r l y

E P I F O R M A T I V E

MH

Chronology

8

9

10

1

2

3

4

5

6

7

8

W H I T E O N R E D

I N T E R L O C K I N G

5

6

7

r

a

m

a

r

i

M

a

Polvorín

Urbanización

Tricolor

Ventanilla 2

Base Aerea

1

2

3

m 4

i

L

8

?

H u a y c o

?

Cerro

Pinazo

Inicíal

Medio

Tardío

Huachipa

Palacios 1988

?

1

2

Villa El Salvador

Villa El Salvador El Panel

Stothert 1980 Paredes 1986

?

?

2

3

Tablada de Lurín

Tablada de Lurín

Cárdenas 1981, 1999; Mackowski 2009a, b; et al., 2012

“Pachacamac White-on-Red”

Pachacamac

Strong and Corbett 1943

CHART 2.1: COMPARATIVE CHRONOLOGY OF THE EPIFORMATIVE (Listed by sites/areas from North to South)

Baños de Boza

or

White-on-Red

“Intermediate”

Lima 2

Lima 6

Ancón

Co. Trinidad 9

Patterson 1966

Kroeber 1926b Willey 1943a

1

2

Lapa Lapa

Chilca

Stothert 1980

615

Author

4

P e r i o d

I n t e r m e d i a t e

E a r l y

H o r i z o n

1

2

3

4

5

6

7

8

1A

1B

2A

2B

3

P R O T O

L I M A

Lima 7-9

Nieveria

L I M A

P R O T O

Maranga I - II = Lima 4-5

Interlocking = Lima 6-9

Cajamarquilla = Nieveria

Own

Maranga

Jijon y Caamaño 1929

L I M A

P R O T O

Lima 7-9

Nieveria

Own

Maranga

Kroeber 1954

Lima 7

Lima 9

Own

Nieveria

Cajamarquilla/Niev.

Shady 1982 (Menzel 1964)

Middle Ancón I

Middle Ancón II

Uhle

Ancón

Strong 1925

P a c h a m a c

P a c h a m a c

E a r l y

W h i t e o n R e d

I n t e r l o c k i n g

L i m a

White-on-Red

Lima 3-4

Lima 6-9

Wari Pachacamac MH2B Nieveria and others 1

Own

Pachacamac

Strong and Corbett 1943

1

2

M 3 a r a 2 n g a 1

n a c o i d

G P r l a a n d y e a

T i a h u a -

Lima 2-6

MH 1-2

MH 3

MH 3-4

Own

Ancón, Chillón, Rimac

Stumer 1953, 1954b, 1954c

T i a h u a n a c o

E p i g o n a l

Late PreInca

MH2A

(Wari-Pachac.)

MH 2B

MH 4 MH 3

3-col. geometric.

Own

Pachacamac

1903

A

M

I

L

O

T

O

R

P

Uhle

White-onRed or Baños de Boza

Lima 2-6

Lima 8-9

Nieveria

Own

Co. Trinidad

Nieveria

1910

1. See Strong and Corbett 1943: 87

CHART 2.2: COMPARATIVE CHRONOLOGY OF THE EARLY INTERMEDIATE PERIOD AND THE MIDDLE HORIZON (Nomenclature used in earlier publications in italics).

100

AD/BC

100

200

300

400

500

600

700

800

900

M i d d l e

Uhle

LIP

Excavation

1000

Nieveria

Gayton 1927

Site

(Alphabetic order)

616

6

7

8

3

4

Middle Ancón I

Middle Ancón II (Epigonal)

Late Ancón I (3-colour geometric)

(Chancay Black-on-White)

Late Ancón II

Phase 1 (Teatino)

(3-colour geometric)

Chancay Phase 2

Chancay Phase 3A

Black-on-White

Chancay Phase 3B

Cornejo 1991 (Chancay Culture - based on Horkheimer’s excavations at Lauri, Chancay)

3-colour geometric (white base)

Late Epigonal-derived

3-colour geometric

and

Misc. Wares

Misc. Wares

Black ware & Red ware

and

Epigonal-derived (Red base 3-colour geometric)

Phase 1

Phase 2

Phase 3

Early Black-on-White

Black-on-White

Chancay

Phase 4

Proposed Chancay Chronology

Ychsma Temprano A

Ychsma Temprano B

Ychsma Medio A

Ychsma Medio B

Ychsma Tardío A

Ychsma Tardío B

Vallejo 2009 (Ychsma Culture)

CHART 3: COMPARATIVE CHRONOLOGY OF THE LATE INTERMEDIATE PERIOD AND THE LATE HORIZON

Middle Horizon

1

2

3

5 Late Intermediate 4 Period

Late Horizon

Chronology

Strong 1925 (Chancay Culture Uhle’s excavations at Ancón)

617

1B

2A

2B

3

4

1

Early (IP)

e

3

4

5

6

7

8

9

2

Middle (EH)

Late

10

v

i

t

a

m

r

o

F

1

2

Early 5 Intermediate 4 Period 3

6

7

8

(EIP 9) 1A

Middle Horizon

Chronology

A n c ó n Sg. 1.2

A A n n c c ó ó n n Sg. Sg. 1.3 1.4

R i m a c

L u r í n

C u r a y a c u

Co. T r i n i d a d

H u a c h i p a C e r r o

P i n a z o

H u a y c o

?

P u r u c h u c o L u r í n

de

T a b l a d a P a c h a c a m a c

C h i l c a

Chapter 3 Figurines of the Epiformative

L Gr.1 i Mi m s a c.

Gr.2 N a s c o ï d

Gr.3 N M i a e r v a e n r g i a a

Chapter 4 Figurines related to the Lima style

1

G r o u p

Sg.2.1 W a r i P a c h.

Sg.2.2 W r a e r l i a - t P e a d c h.

Chapter 5 Figurines of the Early Middle Horizon Gr.1 H y b r i d s

Gr.2 T e a t i n o

Chapter 6 Transitional Early-Late Middle Horizon Figurines

CHART 4.1: CHRONOLOGICAL POSITION OF THE FIGURINES: THE FORMATIVE, THE EARLY INTERMEDIATE PERIOD AND THE EARLY MIDDLE HORIZON

A n c ó n Sg. 1.1

Chapter 2 Figurines of the Formative Figurines from Figurines from Ancón other sites

618

7

8

1A

1B

2A

3

S u p e

Gr.1 Sg.2.1 S u p H e y / b T r e i a d t s i n o

Sg.2.2 S u p H e y / b H r u i a d u s r a

Gr.3 z A o n ö t m h o r r o p p h o i - c

1

G r o u p

2.1

S u b G r o u p 2.2

S u b G r o u p 2.3

S u b G r o u p

Huaura Figurines

3

G r o u p

S u b G r o u p 2

1

G r o u p 4

Unaffiliated Figurines

S u b G r o u p

Chapter 8

CHART 4.2: CHRONOLOGICAL POSITION OF THE FIGURINES: THE LATE MIDDLE HORIZON AND THE EARLY PART OF THE LATE INTERMEDIATE PERIOD

Middle Horizon (MH)

4

1

2

3

6 Late Intermediate 5 Period 4 (LIP)

Late Horizon (LH)

Chronology

Chapter 7 Late Middle Horizon “Innovative” Figurines

619

6

7

8

Middle Horizon (MH) 4

1

2

3

Late Intermediate 5 Period (LIP) 4

Late Horizon (LH)

Phase 1

Phase 2

Phase 3

Phase 4

Chancay

Chronology

Sg. 1.1

Sg. 1.2

Sg. 1.4.2

Sg. 1.5.1

Sgs. 1.5.2A 1.5.2B Sg. 1.5.3

Sg. 1.6

Sg. 2.1

Sg. 2.2

Sg. 2.3 Sg. 2.4

Sg. 2.5

Group 2: Figurines with elongated head

Sg. 3.1

Sgs. 3.2 3.3 Grs. 4 5 Gr. 6

Gr. 7

Group 3: Groups 4 to 7 The “Witch”

CHART 4.3: CHRONOLOGICAL POSITION OF THE FIGURINES: THE LATE INTERMEDIATE PERIOD AND THE LATE HORIZON

Sg. 1.3

Sgs. 1.4.1A 1.4.1B

Sg. 1.4.3

Group 1: The Cuchimilco

Chapter 9: The Chancay Figurines

Gr. 1

Gr.2 9%

Gr.2 21%

Gr.2 70%

Y Temp A

Y Temp B

Y Med A

Y Med B

Y Tard A

Y Tard B

Ychsma Chronology

Chapter 10: The Ychsma Figurines

MAP 1: GENERAL MAP OF PERU

620

MAP 2: GENERAL LAYOUT

621

MAP 3: PATIVILCA AND SUPE VALLEYS 1. Paramonga 2. El Aspero 3. Chimú Capac (Hacienda San Nicólas)

622

MAP 3: PATIVILCA AND SUPE VALEYS

623

MAP 4: HUAURA AND CHANCAY VALLEYS

A. Sites listed in alphabetical order: 10. Andahuasi (Hacienda) 14. Bandurria 36. Baños de Boza 25. Caqui (Hacienda) 5. Centinela 13. Cerro Colorado 31. Cerro Macatón 35. Cerro Trinidad 33. Chacarilla 24. Horcón (or Orcón) 11. Huacán (Hacienda) 20. Huando (Hacienda) 7. Humayá (Hacienda) 19. Jecuán (Hacienda) 29. La Huaca (Hacienda) 17. Lachay, Lomas de 34. La Mina 37. Las Salinas (Hacienda)

27. Lauri (or Lauren) 30. Miraflores (Hacienda) 28. Panchalahuaca 38. Pasamayo (Hacienda) 23. Pisquillo Chico 22. Pisquillo Grande 9. Quintay 18. Rio Seco de León 15. Salinas de Huacho 8. San Isidro de Sayán (Hacienda) 32. Santa Rosa (Hacienda) 12. Santa Rosalia (Hacienda) 26. Socavón 16. Teatino, Pampa Santa Maria 21. Tronconal 4. Végueta 6. Vilcoshuaura, Vilcahuaura

B. Sites listed in numerical order: 4. Végueta 5. Centinela 6. Vilcoshuaura, Vilcahuaura 7. Humayá (Hacienda) 8. San Isidro de Sayán (Hacienda) 9. Quintay 10. Andahuasi (Hacienda) 11. Huacán (Hacienda) 12. Santa Rosalia (Hacienda) 13. Cerro Colorado 14. Bandurria 15. Salinas de Huacho 16. Teatino, Pampa Santa Maria 17. Lachay, Lomas de 18. Rio Seco de León 19. Jecuán (Hacienda) 20. Huando (Hacienda) 21. Tronconal

22. Pisquillo Grande 23. Pisquillo Chico 24. Horcón (or Orcón) 25. Caqui (Hacienda) 26. Socavón 27. Lauri (or Lauren) 28. Panchalahuaca 29. La Huaca (Hacienda) 30. Miraflores (Hacienda) 31. Cerro Macatón 32. Santa Rosa (Hacienda) 33. Chacarilla 34. La Mina 35. Cerro Trinidad 36. Baños de Boza 37. Las Salinas (Hacienda) 38. Pasamayo (Hacienda)

624

MAP 4: HUAURA AND CHANCAY VALLEYS

625

MAP 5: CHILLÓN VALLEY

A. Sites listed in alphabetical order: 42. Carabayllo 43. Caudivilla 46. Cerro Culebras 49. Chuquitanta/El Paraiso 41. Copacabana 44. El Palmo 49: El Paraiso, see Chuquitanta 48. Infantas 39. Macas (Hacienda) 47. Marquéz (Hacienda) 45. Medialuna, Cerro de 50. Oquendo (Hacienda) 40. Piedras Gordas

B. Sites listed in numerical order: 39. Macas (Hacienda) 40. Piedras Gordas 41. Copacabana 42. Carabayllo 43. Caudivilla 44. El Palmo 45. Medialuna, Cerro de 46. Cerro Culebras 47. Marquéz (Hacienda) 48. Infantas 49. Chuquitanta/El Paraiso 50. Oquendo (Hacienda)

626

MAP 5: CHILLÓN VALLEY

627

MAP 6: RIMAC AND LURÍN VALLEYS A. Sites listed in alphabetical order: 60. Aramburú, see Maranga 67. Armatambo or Surco --. Avillay: not on map 51. Cajamarquilla 70. Cardal 61. Catalina Huanca or Vista Allegre 55. Cerro Mulerías 76. Curayacu 73. El Panel 58. El Sauce: see S. Juan de Lurigancho 56. Garagay 57. Huaca La Florida 66. Huaca Pucllana or Huaca Juliana 53. Huachipa 65. Huallamarca or Huaca Pan de Azucar 62. Huaquerones 63. La Puruchuca: see Puruchuco 59. Macatambo 69. Malpaso or Piedra Liza

68. Manchay Bajo 60. Maranga or Aramburú 72. Mina Perdida 71. Necrópolis de la Tablada de Lurín 52. Nievería (Hacienda) 75. Pachacamac (archaeological site) 78. Panquilma 54. Pedreros (Hacienda) 58. Potrero Tenório: see S. J. de Lurigancho 77. Pueblo Viejo - Pucará 63. Puruchuco - La Puruchuca 58. Quebrada Canto Grande: see San Juan de Lurigancho 64. Rinconada La Molina 58. San Juan de Lurigancho 63. San Juan de Pariachi: see Puruchuco 67: Surco: see Armatambo 71: Tablada de Lurín: see Necrópolis de... 74. Villa El Salvador 61. Vista Alegre, see: Catalina Huanca 58. Zárate, see San Juan de Lurigancho

B. Sites listed in numerical order: 51. Cajamarquilla 52. Nievería (Hacienda) 53. Huachipa 54. Pedreros (Hacienda) 55. Cerro Mulerías 56. Garagay 57. Huaca La Florida 58. San Juan de Lurigancho (incl. El Sauce, Potrero Tenório, Quebrada Canto Grande, Zárate) 59. Macatambo 60. Maranga or Aramburú 61. Catalina Huanca or Vista Allegre 62. Huaquerones 63. Puruchuco - La Puruchuca

64. Rinconada La Molina 65. Huallamarca or Huaca Pan de Azucar 66. Huaca Pucllana or Huaca Juliana 67. Armatambo or Surco 68. Manchay Bajo 69. Malpaso or Piedra Liza 70. Cardal 71. Necrópolis de la Tablada de Lurín 72. Mina Perdida 73. El Panel 74. Villa El Salvador 75. Pachacamac (archaeological site) 76. Curayacu 77. Pueblo Viejo - Pucará 78. Panquilma

(incl. San Juan de Pariachi)

628

MAP 6: RIMAC AND LURÍN VALLEYS

629