Pre-Columbian Art and Architecture

B

Pre-Classic Period

Two important cultures developed in Peru in the Pre-Classic period, Chavín de Huántar and Paracas.

B

1

Chavín

Between about 1200 and 200 bc, in the northern Peruvian highland ceremonial center of Chavín de Huántar, a civilization flourished that in many ways paralleled the contemporary Olmec civilization of Mesoamerica. Both were major early civilizations in their archaeological areas, and both used feline images in their sacred iconography. It appears that Chavín artistic influence was spread not by military but by religious and intellectual efforts. From Ecuador to southern coastal Peru, evidence remains of Chavín artistic and iconographic influence.

Chavín de Huántar is composed of a series of platforms and temples with corbel vaults in some of the corridors. The finest stone sculpture in the Central Andean Area is found at Chavín de Huántar or at Chavín-related sites such as Cerro Blanco and Cerro Sechin. Unlike the Olmec and other Mesoamericans, however, the Chavín and later Peruvian civilizations created very little freestanding stone sculpture or even clay figurines. Chavín shallow-relief carving achieved its expressive height in the stylized rectilinear design of the stela called the Raimondi Stone.

Probably originating in northern Peru, the stirrup-spout vessel—a closed pot having a hollow U-shaped handle surmounted by a tubular spout—was the most characteristic Chavín ceramic shape. Resembling Olmec ceramics, fine Chavín pottery was produced at outposts rather than at the principal ceremonial center. In northern Peruvian coastal valleys at Cupisnique, Chongoyape, and Tembladera, highly accomplished effigy pots were made with abstract and realistic designs.

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Metalworking developed and the Chavín excelled at making hammered gold, or repoussé, body ornaments. Characteristic of the metalwork of the Chavín are cutout decorative plaques that were attached to garments, and high cylindrical crowns with mythological reliefs, which were worn by the Chavín nobility.

B

2

Paracas

Another civilization developed from about 1100 to 200 bc at Paracas on the southern Peruvian coast. Because of the area's extreme aridity, Paracas textiles have been perfectly preserved. Buried in desert tombs, mummies were bundled with layers of cloth that was woven or painted with complex designs or elaborately embroidered. Effigy pots were also found in the Paracas necropolis. Many of these show distinct Chavín influence, especially in the use of feline-cult iconography.

Peruvian southern coastal art has always been more influenced by schematized textile designs, rather than by the clay and metal sculpture that promoted the realism of northern Peruvian art. The decoration of Paracas ceramics, therefore, was highly stylized, frequently incised, and brightly polychromed. The vessels themselves were often double spouted and round bottomed, rather than stirrup spouted and flat based like northern coastal pots.

C

Classic Period

Dominating the Classic period were the Moche and Nazca cultures and the later Tiwanaku and related Huari cultures.

C

1

Moche

Between about 200 bc and ad 700 a militaristic society flourished on the northern Peruvian coast. Formerly named after its language, Mochica, this civilization is now referred to by the name of its major ceremonial administrative site, Moche.

Centered on two large terraced platform pyramids of sun-baked brick, Moche is one of Peru's most monumental sites. Although a warrior society, the Moche displayed none of the spartan taste or disdain for luxury that characterized the Mesoamerican Toltec. Moche tombs were filled with some of the most proficient pottery and metalwork of the Central Andean Area.

Moche ceramics, the best known of ancient Peruvian artifacts, are among the finest pre-Columbian accomplishments of sculptural realism and narrative drawing. So-called portrait-head effigy pots are especially notable for realistically depicting human features and portraying emotion. On other Moche pottery the curved vessel walls are decorated with dynamic scenes drawn with delicate stylized lines and showing this people's religious and military life. The Moche also produced more erotic pottery than any other pre-Columbian civilization. These artifacts are now interpreted as having ceremonial rather than pornographic meaning.

Moche metalwork was more ornate and technologically advanced than that of earlier civilizations. Body ornaments of gold, silver, copper, and alloys were frequently inlaid with turquoise and lapis lazuli. Geometric patterns and mythological motifs, especially the feline deity, were used.

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