Chavín de Huántar, PDF

Chavín de Huántar https://youtu.be/PnIoffCCyBI?si=O69erGVkxjgPpyxv © 2018 1 Before the Inka After 900 cal BC, a decline in coastal sites, such as the Casma Valley, coincided with intensified monument building in the highlands – During the Early Horizon period, this is seen in the Chavín Horizon. – I...

Chavín de Huántar https://youtu.be/PnIoffCCyBI?si=O69erGVkxjgPpyxv © 2018 1 Before the Inka After 900 cal BC, a decline in coastal sites, such as the Casma Valley, coincided with intensified monument building in the highlands – During the Early Horizon period, this is seen in the Chavín Horizon. – In the Early Intermediate period increasingly complex sociopolitical structures emerge in the Nazca, Requay, Cajamarca, Moche, and Gallinazo regional and interregional polities. – During the Middle Horizon period, state-level polities developed at Wari and Tiwanaku, and in the Chimú Empire of the Peruvian coast – The Inka began consolidating power over the highlands in the Late Intermediate period. © 2018 2 Early Horizon (1 of 2) Chavín Horizon: a set of shared artistic motifs that spread from the highlands to the Peruvian coast between 900 and 200 cal BC. Chavín imagery incorporated diverse ecological and animal imagery. This artistic style, including its “fanged deity,” was so widespread that some interpret it as an integrative religion. © 2018 3 Early Horizon (2 of 2) Chavín de Huántar: shows architectural continuity with earlier periods. Possibly constructed in the context of ritual feasting. Participants would take art and ideology with them, but they likely were not “ruled” by Chavín de Huántar. © 2018 4 Early Intermediate (1 of 4) The Southern Peruvian Coastal Area was dominated by the Nazca Culture from 100 BC – AD 700. Nasca created large (over 900 acre) petroglyphs by moving surface stones in patterns on the desert plateau—creating Nasca Lines. © 2018 5 Early Intermediate (2 of 4) The Central Highlands were home to the Requay Culture from AD 1 - 700. Requay manifests significant stylistic ties to coeval developments in the Central Andes, including the Moche, Salinar, and Gallinazo, Cajamarca, Lima, and montane forest cultures (see Lau 2002). © 2018 6 Early Intermediate (3 of 4) Between approximately AD 100 and 800, the Moche were a confederated chiefdom that spanned the north coast of Peru. Distinctive pottery featuring gods, animals, graphic sexual imagery, and war captives (see below). Built flat-topped pyramids and were consumers of metals including copper, gold and silver and their alloys © 2018 7 Early Intermediate (4 of 4) The Northern Coast of Peru was also home to the Gallinazo Culture from 100 BC – AD 700. The Gallinazo built monumental architecture, had a unique art style, controlled copper mines and extensive canal systems https://arcg.is/1r8b8q1 © 2018 8 The Mochica Its Archaeology and Culture Mochica (Moche) of the North Coast of Peru The primary cultural development of the first millennium AD on the north coast (A.D. 100-750) The first multi-ethnic, multi-valley, state-level polity with at least 3 hierarchical tiers of administrative settlements and clear social differentiation Dual economy of irrigation agriculture & fishing Naturalistic, narrative art and culmination of the north coast plastic ceramic tradition (realistic sculptural vessels); bichrome decoration and mold-based production tumbaga and sophisticated metallurgy Monumental multi-level platform mounds Segmentary construction & marking of constituent adobe bricks - labor tax? Warfare: ritualistic & secular Archaeology of the Mochica Sense of a privileged, “prima donna” derived from its glamorous character; Cosmopolitan practitioners; This, in turn, largely stems out of the naturalistic, ethnographic and narrative art and impressive elite tombs endowed with numerous artistically and technical fine objects; Thus, there is a strong art historical character to the field, more than the holistic anthropology; Continuing emphasis on major ceremonial sites and burials; Limited understanding of daily life and masses and the extent to which our knowledge and understanding of social elite applies to them Cultural chronology Traditionally based on a five-phase (I-V) stylisticmorphological seriation of R. Larco (refined by C. Donnan & D. Menzel) – stratigraphically confirmed Phases IV and V; Radiocarbon dates have both clarified and confused the overall picture; Current chronology is quite inadequate – Early, Middle, Late with each up to 200 to 300 yrs in duration! Confusion of time and style as well as polity and style; Politically, the Mochica lost much of its power and importance by ca. 700-750 CE throughout the north coast – the style lingered on in a few places up to 800850 CE Inca Regional Extent 7 Moche & Gallinazo Regional Extent 8 The Mochica (Moche) Cultures (ca. A.D. 100-750) ▪ Principal monuments: Huaca del Sol, Huaca de la Luna ▪ Separated by large space filled with courts, residences, workshops and cemeteries Site of Moche The Site of Moche in the Moche Valley (Huacas de Moche; Cerro Blanco) Rio Moche Huaca del Sol Huaca de la Luna Huacas de Moche HUACA DEL SOL The Site of Moche in the Moche Valley (Huacas de Moche; Cerro Blanco) Cerro Blanco Huaca de la Luna North façade, H. Luna Plan view, H. Luna Huaca del Sol (“Pyramid of the Sun”) Largest structure ever built by adobe in the New World ▪ 380 meters long by 160 meters wide ▪ 143 million adobe bricks ▪ Built over centuries (ca. A.D. 100-700) ▪ Only ca. 1/3 remains due to destruction by Spanish ▪ Spanish diverted Moche River to ‘mine’ the site for burials and gold Huaca del Sol (“Pyramid of the Sun”) By far the Largest adobe structure ever built in the New World Compare: Huaca del Sol to Great Pyramid at Giza ▪ Complexes of rooms on top, including courts, corridors ▪ 143 million adobe bricks ▪ Public functions (administration, meeting, feasting), elite residences and high status burials Ca. 50 meters in height and 380 m by 160 m at the base. ▪ Complexes of hallways ▪ 2.3 million blocks of stone ▪ Burial chamber deep within Ca. 230 meters base and 147 m. in height Segmentary Construction and Marked Adobes Variation in adobe mark, Huaca de la Luna Uniformly marked adobes within a segment, Huaca del Sol Evidence of something similar to the Inca’s mit’a-like periodic, rotational labor tributary system? Segmentary Construction and Marked Adobes East face, H. del Sol Segmentary Construction and Marked Adobes Ceremonial and Funerary Constructions Adobe wall segment, Sipan Segmentary Construction and Marked Adobes Stone wall segment, Cojal, residential constructions Adobe wall segment, Sipan Huacas de Moche URBAN SECTOR Back at Huacas: Between the mounds there were residences, burials and craft workshops – urban center built around ceremonial mounds and elite cemeteries Huacas de Moche HUACA DE LA LUNA Huaca de la Luna ▪ Different function – religious and ritual practices; High status burials ▪ At least 8 phases of remodeling (span ca. A.D. 300-700) and “temple burials” ▪ Evidence of multiple, large scale human sacrifice events Huaca de la Luna Murals Decapitator Motif Huaca de la Luna painted decoration ‘Decapitator frieze’ Reconstruction of the Huaca de la Luna Temple Top Pattern continues: Huaca Cao Viejo, El Brujo Complex, mouth of the Chicama Valley Huaca Cao Viejo: Multi-phase construction that spans ca. 200-700 CE Mochica textiles – Sophisticated but rarely preserved Mochica Material Culture MOCHE [MOCHICA] ART, ICONOGRAPHY AND MEANING Remember Emperor Qin’s terracotta army? (248 BC) An artform restricted to Southern North Coast sector during Mochica (Moche III-IV ca. AD 300550) Moche Portrait Vessels: Who AreThey? http://bit.ly/3UKXeyT More portraits: What explains this practice? Who are they? Narrative Art Rendered in a Naturalistic Style, Diverse Subjects, & Numerous Specimens Meet Chumpi’s Dad - Sicán Diverse subject matters: all seem to have ritualistic, sacred character Presentation Theme: What Does It Represent Significance of Human Sacrifices (Blood Offering) in the Mochica Religion – For Maintain of Order in their Universe? For Daily Rejuvenation of the Sun and the Moon? Numerous, graphic representations of Mochica warfare (increase from Phase III onto IV (Middle) Ongoing debate over Mochica warfare: What was its purpose (secular versus ritualistic)? Who fought it? How often did it take place and how encompassing was it? Ritual and/or secular warfare? The Idea of Ritual Battles Analogy made to the Inkaic and historic annual ritual battles between two moieties (A.M. Hocquenghem) – called tinku – still practice today – mostly slings and clubs and can be bloody but rarely deadly – intended to release the tension between two asymmetrical moieties, in the name of patron deities; establish or re-establish their responsibilities and privileges, rite of passage, & during the Mochica time, to capture warriors to be sacrificed; Human sacrifices had taken place multiple times; Last time corresponded to a brief moment of dryness during a severe late sixth century El Niño torrential rain; Nearly all healthy and physically fit young males who had led an active life; Perimortally bodies cut extensively & dismembered – to force out as much blood as possible; A biodistance study suggests the sacrificed individuals having come from a distinct population – but still relatively similar biologically ; A mtDNA study indicates that both the sacrificers & the sacrificed were derived from two biologically quite similar groups; Huaca de la Luna - sacrifices Huaca de la Luna Human Sacrifice at the time of a major El Niño event, ca. A.D. 600 Sacrificed Warriors and their death portraits and departing souls? The Idea of Secular Battles Not mutually exclusive with the ritualistic battles; Conflicts between competing Mochica regional polities and/or between the Gallinazo and the Mochica; Environmental circumscription (R. Carneiro) – limited resources, particularly land, water (also tributaries), in face of a population increase and/or environmental disturbances – mostly theoretical arguments; Pressure from the neighboring Recuay and Cajamarca polities in the north highlands – downward thrust (access to the coast) – evidence of tense co-existence, push-pull situation in the yunga; Some iconographic depictions of battles between two groups wearing distinct garbs and using different weapons; Osteological evidence – limited trauma among the populace (limited sample) So, What Can We Say about the Mochica Sociopolitical System? Physiographic and Cultural Bipartition of the North Coast: Northern and Southern Mochica; Mochica sociopolitical organization differed in time and space – no simple all-encompassing generalization; At the core, however, seems to a dual social organization (moieties) and kinship-based elite lineage that controlled the north or south bank of a river valley – each with a multi-level, but fluid social hierarchy; These regional elite lineages, each with a patron deity (Y. Berezkin), competed for a greater prestige and power, but also established marriage alliances; They shared an art style and basic religious concepts and deities; A regional polity in the small Moche Valley may have succeeded in hydrologically and politically unifying the valley and began its expansion southward – eventually led to the Southern State based at Moche; Northern Mochica – composed of up to 5-6 regional polities that probably did not unify until Phase V (Late Moche) Moche burials indicate significant status variations: Examples from Sipán. Do we have a state? Burial Platform Mound at Huaca Rajada under excavation “Lord of Sipán” tomb reconstruction Mochica “Royal Tombs” at Sipán Actual Priest Burial Recosntruction of the High Priest Tomb Tomb 4, Sipán (2008) Dual Economic Pillars: large-scale irrigation agriculture and intensive fishing Canal systems – including the Ascope Aqueduct – in the Chicama Valley Intervalley canals established in the Lambayeque region by the end of the Mochica sequence Gilt copper Sophisticated and Innovative Mochica Metallurgy Inlaid earspools Copper alloy- and Sheetmetal-based metallurgy Extensive use of metal for elite and ritualistic purposes – but how widely was it diffused throughout the society? Sophisticated Mochica Metalworks from Royal Tombs at Sipán Nose Ornament Rattling Sceptor Part of a Pectoral Backflap But, where did all the metal, copper in particular, come from? Meet the Northern Gallinazo What the heck does that mean? Unlike Mochica art style, Northern Gallinazo pottery is decorated with emoji-like facial expressions What the heck does that mean? Unlike Mochica art style, Northern Gallinazo pottery is not concerned with realism What the heck does that mean? Unlike Mochica art style, Northern Gallinazo pottery is not concerned with realism Sacred Condor of the Inka Gallinazo, Lords of Copper