Index

Aja Fault, 321, 322Aja River, 321Akapana Gateway, 201, 202, 203Alarcon Phase datesConchopata, Middle Horizon, 295-296

Alphabetic writingMoche pottery (Cerro Mayal, Peru), 129-130

American Formative way of life, 174Andean art, generallyearly interest in, 5-8material culture approach, 10recent approaches, 8- I2

Andean art and societyChachapoya iconography, 29-30, 137-155introduction, 23-34Moche pottery, 107-135Paracas Necropolis, 71-105Pucara ceramic art, 26-27, 35-69

Angrand, Leonce, 193Gateway of the Moon, 216"Little Pumapunku," 210, 2ll, 213, 218, 220

Anticephaloid architraves, 207-208Anuje,149ArchitectureConchopata, Middle Horizon, 288-296

Architravesanticephaloid,207-208curved, 205, 207

Archives, compilation of, 25

Arqueologia del Valle de Casma (Tello), 7Arte y Tesoros del Peru (Banco de Credito del

Peru), 8, 24Atarco Fault, 315, 325-326Aveni, Anthony, 308Avenida del EjercitoConchopata, Middle Horizon, 288-289

Ayacucho Valley, 185, 239, 249, 252, 297Azadas, 278Azuay Province, 157

Bamboo containersChachapoyaiconography, 145,146,149

Banco de Credito del PeruArte y Tesoros del Peru, 8, 24

Bat, headChalluabamba pottery, 166

Bellinger, Louisa, 74, 92Bibliotheque Nationale, Paris, 193Birdattendant, floating, 266Guanaco and Bird MotifFeline man, Pucara ceramic art, 55-56,57

realistic, 266Bird, Junius, 74, 92Bird-monkey forms, 340Bird Priest, 3Birth bowl, Moche pottery, 121,122

365

366

Blind miniature gateways, Tiwanaku, 193, 209Block Color style

Brooklyn Museum Textile, 84-85

Goteborgs Etnografiska Museum Textile, 87Paracas Necropolis textiles, 28, 75, 83, 87-

88, 97

BMT: see Brooklyn Museum TextileBorja, Antonio, 336Bottles, Mochepainted vessel assemblages, /25pictorial notations, mold inscriptions, 121,

/24Bray, Tamara L., 186, 333-354

Brooklyn Museum Textile, 83-86Brown agouti, 149, 153n. 4

Buck, Fritz, 218Burial: see Mortuary practicesBurnished Black pottery, 159, 161, 163, /65,

166, /67, 172-174

Cabildo Gravelot, 93-98Cabrera Romero, Martha, 184,225-247, 258,

261,263

Cahuachi, Nasca textiles, 76, 97California, University of at Los AngelesFowler Museum of Culture History, 25

Callej6n de Huaylas, 150Camelid burialD-shaped temple, Conchopata, 229

Camelid woman, Pucara ceramic artCamelid Motif, 44, 48economic aspect, 64face markings, 44feline-headed snakes, 56flowering or non-flowering state, plant motif,

47generally, 39geometric designs, 62heads, 43, 44iconology, 60-67identification of, 40, 41-48

necklace, 46Owl Motif, 45, 49, 63pedestal-base bowls, 4/-44

plant motif, 47portrayal of personage, 63Rayed Head Motif, 44, 48-49related motifs and designs, 48-50theme, 4/, 42

Capulf style, 343

Index

Carchi-Nariiio region, 342, 344, 347, 349

Carrillo, Antonio, 157-177Carri6n Cachot, Rebeca, 7

Castelnau, Francis de, 216Castillo, Luis Jaime, 9

Castro, Rossel, 308

Central Andesart styles, 29Formative Period pottery, 30-31

Ceramic iconography, Conchopata D-shapedtemple, 238-244; See also Pottery

anthropomorphic themes, 242conical base jar, 235, 236feline heads, 239, 24/

Front Face Staff God, 239, 246gods and mythological beings, 239-240Nasca-like motifs, 243-244

oversize urns, decorations on rims, 242

standing warriors, 232warriors, 240-243

warriors kneeling in reed boats, 23/, 297winged attendants, 240

Cerro Aja, 312, 3/3, 319-322, 329fault, 319,320groundwater flow, 32/

Cerro Colorado, 313, 316, 317, 327-328Cerro Mayal, Perulocation of, 109Moche pottery, 107-135emergent writing, 129-130mold inscriptions, 111-127mold technology, 110-111occupational literacy, 127-129overview, 108-110

Chachapoya iconography, 29-30, 137-155bamboo containers, 145, /46, 149

burial sites, 141-143circular stone houses, 139entradas, 135feline iconography, 144-145, /46gourds, 144, 145, /46, 148, 149

Inca conquest, 140-141interiors, 139-140Laguna de los C6ndores, Peru, 29-30, 137­

155, 358chullpas, 141-143, /44, 150feathered headdress, /5/

Llaqtacocha, 142map of cultural area, /36mortuary practices, burial sites, 141-143

Index

Chachapoya iconography (cont.)

pyroengraved profile feline on hollowbamboo container, 146

related imagery, 145-149rollout of pyroengraved gourd from

Chullpal, 144settlements, 139-140tombs, 142unku, 145-148, 147, 148

Chakipampa mesaConchopata, Middle Horizon, 289

Challuabamba, 157-177pottery, 159-163, 358bat, head, 166chief's house, 167-172content, 172-175cosmological symbolism, 164-167Cuts I, 2 and 3, 169Cut 4, /70, 171Cut 5,171effigy jar, 167firing practices, 164medium, 172-175oxidized wares, 165percentages of each type by level, 163periods and types, 162political ideology, 172-175rims, number of, 163stamps, seals, and ceramic cup sherds, 168

radiocarbon samples, 161trench wall, 160

Chapi, 336-337Chauchilla River, 324, 325Chavez, Karen Mohr, 24, 35-36, 66-67, 357Chavez, Sergio J., 24Pucara ceramic art, themes, 26-27, 35-69

Chavez Ball6n, Manual, 35-36Chavin, 149, 345Pucara ceramic art, 37

Chav[n (Tello), 7Chief's houseChalluabamba pottery, 167-172Chota-Mira river, 334, 335-336ChullpasLaguna de los C6ndores, Peru, 141-143, 144,

150Cieza de Leon, Pedro, 217, 221Civic centerConchopata, Middle Horizon, 254, 289-290

Cleveland Museum of Art Textile, 92-93

367

CMAT: see Cleveland Museum of Art TextileCobo, Bernabe, 217Colgate University, Departments of

Anthropology and Astronomy, 308Composite blind miniature gateways,

Tiwanaku, 208, 209, 210Conchopataairport, 257archaeological zone, 255D-shaped temple, 184, 225-247, 361ceramic iconography, 238-244ceremonial building, 228-238Sector B, archaeological research, 226-228

Huari, development of, 184-185location of, 226map of, 253oversize ceramic offering, 255perimeter walls, 254

Middle Horizon, 249-305Alarcon Phase dates, 295-296architecture, 288-296Avenida del Ejercito, 288-289Chakipampa mesa, 289chronology for, 256civic center, 254, 289-290history of investigations, 256-259mortuary practices, 280-288, 298oversize ceramic offering tradition, 259-277

palace compounds, 292-295Pink Plaza, 291-292pottery production, 277-280Robles Moqo Style, 251, 256spatial organization, 288-296White Courtyard, 291-292

oversize ceramic offering, 259-277bird, realistic, 266decorated urn, 274excavation of room EA-36, 270face-neck jars, 259, 26/, 264, 271-273face urn, 268floating bird attendant, 266floating feline attendant, 265front-face diety, 265map showing, 2551977 OCO Type IB, 261, 263, 2641997/98 OCO Type 2, 2631999A OCO Type 2, 263, 265, 2661999B OCO Type lA, 264, 267, 267, 268,269

368

Conchopata (cont.)

oversize ceramic offering (cont.)

1999C OCO Type 4, 2671942 oeD Type lA, 255, 262-263OCO Type I, 260OCO Type 2, 260, 261OCO Type 3, 262OCO Type 4, 2622000A OCO Type IB, 267-2682000B OeD Type IB, 268-269, 272, 2732000C OCO Type 3, 269, 2742000D OCO Type 3, 269-270, 275200IA OCO Type 3, 270-271, 276200IB OCO Type 3, 271-277types of, 259, 260urns, 259, 261warriors in boats, 275woman nursing spotted feline, 267

perimeter walls, 254Conchopata Style, 251Conklin, William 1., 93-94, 182, 192,207-208Cook, Anita G., 184-185,239,240,249-305Cordy-Collins, Alana, 9Corporate styles, 10Cotomachaco,347Courty, Georges, 217Crequi-Montfort, Georges de, 217Crucifixion theme, 40Cultural production and reproduction, 357-364materiality, 359-362

Dawson, Lawrence, 85D'Orbigny, Alcide Dessalines, 215Desena people of Colombia, 152n. 2Doig, Kauffmann, 8Domingo Canepa of Pisco, 83Donnan, Christopher B., 9, 10,25Moche style, 28

Double chambered rattle, Moche pottery, 118,119

Double-faced embroidery, 74Drum, Nasca 2 pottery, 76D-shaped temple, Conchopata, 184, 225-247,

361ceramic iconography, 238-244anthropomorphic themes, 242feline heads, 239, 241Front Face Staff God, 239, 246gods and mythological beings, 239-240Nasca-like motifs, 243-244

Index

D-shaped temple, Conchopata (cont.)

ceramic iconography (cont.)

oversize urns, decorations on rims, 242warriors, 240-243winged attendants, 240

ceremonial building, 228-238architecture evidence, 238camelid burial, 229conical base jar, 235, 236

Front Face Deity heads, 230human crania, 235ritual camelid burial, 229sample pottery, 236solar clock, 234-235standing warriors, pottery, 232stratum C and D, 229textile designs, 233warriors kneeling in reed boats, pottery,231,297

features 1-16, ceremonial building, 228-237

Front Face Deity heads, 230location of Conchopata, 226Pink Patio, 292Sector B, archaeological research, 226-228burials, 227residential unit, 227

White Courtyard, 292

Early Horizon, Pucara ceramic art, 37Early Intermediate Period, 150Early Nasca textiles: see Nasca textilesEcuadorian Highlands: see Northern Andean

HighlandsEffigy bowlsFeline man, Pucara ceramic art, 50-52

Effigy jarChalluabamba pottery, 167Feline man, Pucara ceramic artmale-headed effigy jar and bowls, 46

Electronic databases for art and artifacts, 26Elite, Moche, 29Emergent writing, Moche pottery (Cerro

Mayal, Peru), 129-130Equatorial Andes, noble houses, 157-177; see

also Challuabambasites, 158

Escalante, Javier, 218Escritono type stones, 2/1Ethics, display of looted art, 25-26

Index

Face markingsCamelid woman, Pucara ceramic art, 44Feline man, Pucara ceramic art, 51, 52

Face-neck jars, Conchopata, 259, 261, 271-273Face urn, Conchopata, 268Fanged Lizard, Moche pottery, 115Farmer, James D., 157-177Faults: see also specific faultsubterranean water resources, Rio Grande de

Nazca drainage, 315, 316, 319,320, 321,

322, 325-326Feathered headdress, 151Feline, spottedoversize ceramic offering tradition,

Conchopata, 267Feline attendant, floatingoversize ceramic offering tradition,

Conchopata, 265Feline-headed snakes, 50, 54, 56Feline headsD-shaped temple, Conchopata, 239, 241

Feline iconography, Chachapoya, 144-145,146Feline man, Pucara ceramic artceremonial/mythical component, 65-66cream color for face, 52-53effigy bowls, 50-52face markings, 51, 52facial hair, 51, 53feline-headed snakes, 50, 54, 56feline man pose, 64feline motif, 56, 58, 60, 61

garments, 54geometric designs, 59goatee beard, 53Guanaco and Bird Motif, 55-56, 57hair, 51iconology,60-67identification of, 40, 50-54male-headed effigy jar and bowls, 46motifs and designs, 54-60moustache, 53mouth/lips, 51, 52nose and protruding chin, 51outflaring bowl, 47, 55pedestal-base bowl, 47-49political aspect, 64-65profile, 53related motifs and designs, 50-60Severed Head Motif, 53, 54-55, 55-56, 61,65,66

369

Feline man, Pucara ceramic art (cont.)Winged Man Motif, 59, 62zigzagging staff, 53

Feline motifs, female-related, 56, 57, 58, 58­59

Floating bird attendantoversize ceramic offering tradition,

Conchopata, 266Floating feline attendantoversize ceramic offering tradition,

Conchopata, 265Flores, Benedicto, 256Forrnative Period pottery, 30-31Fowler Museum of Culture History, UCLA, 25Frog Mold, Moche pottery, 117Front Face Deity headsD-shaped temple, Conchopata, 230

Front Face Dietyoversize ceramic offering tradition,

Conchopata, 265Front Face Staff GodD-shaped temple, Conchopata, 239, 246

Full-sized gateways, Tiwanaku, 193-208miniature gateways compared, 213-215

Funerals: see Mortuary practices

Gateway of the Moon, Tiwanaku, 191, 193,204-205

location of, 216-217Gateway of the Sun, Tiwanaku, 191, 193, 195,

196-201,203-204,221location of, 215-216

Gateways, TiwanakuAkapana Gateway, 201, 202, 203

anticephaloid architraves, 207-208comparison, 203-204curved architraves, 205, 207full-sized gateways, 193-208miniature gateways, compared, 208-213

Gateway I (Pumapunku), 195, 196, 197, 203Gateway II (Pumapunku), 194, 195-196,197Gateway III, 204, 214Gateway III (Pumapunku), 194, 204, 206,

214Gateway IV (Pumapunku), 196Gateway A, 210-213, 214Gateway of the Moon, 191, 193, 204-205location of, 216-217

Gateway of the Sun, 191, 193, 195, 196-201,203-204, 221

370

Gateways, Tiwanaku (cont.)Gateway of the Sun (cont.)location of, 215-216

half-scale gateways, 218location of, 215-218miniature gateways, 208-213full-sized gateways, compared, 208-213

Pumapunku, 189, 193, 195-196,219location of, 217-218

Sandstone Gateway, 205signific".nce of, 191-193

Gateway~,of Pumapunku, 189, 193, 195-196,219location of, 217-218

GEM: see Goteborgs Etnografiska MuseumGEMT: see Goteborgs Etnografiska Museum

TextileGeoglyphs and subterranean water resources,

Rio Grande de Nazca drainage, 307­332, 312, 314, 322-324

archaeological analysis, 317-318Cerro Aja, 312, 313, 319-322, 329Cerro Colorado, 313, 316, 317, 327-328faults, 315, 316, 319,320, 321, 322, 325-326geological mapping, 316-317geophysical analysis, 318hypothesis, new, 309-312archaeological analysis, 317-318conceptual model to explain, 328-329development of, 309-312geological mapping, 316-317geophysical analysis, 318methodology, 315-319regional map of drainage, 311results, 319-328Schreiber-Lancho Rojas model, 310study areas, 312-315surveying, 318testing hypothesis, 312-319water sampling program, 319

surveying, 318Usaca, 313, 324-327water sampling program, 319

Geometric Snake motif, /24GoldConchopata, artifacts, 287ornaments, Popayan region of Colombia,

340Gold pectoral, 344Goteborgs Etnografiska Museumother textile, 90, 91

Index

Goteborgs Etnografiska Museum Textile, 86­89

Gourds, Chachapoya iconography, 144, 145,146, 148, 149

Gran Pajaten, 150Grieder, Terence, 30-31, 157-177,358Groundwater: see Subterranean water

resources, Rio Grande de Nazcadrainage

Guanaco and Bird Motiffeline man, Pucara ceramic art, 55-56, 57

Haeberli Panpipe, 75, 85, 90Haenke, Thaddaus, 215Harvard University, Peabody Museum, 35Hawkins, Gerald, 307Helsinki Panpipe, 81, 81-82, 85Hill, David w., 159Huaca de la Lunamassacre, 3Moche pottery (Cerro Mayal, Peru), 128

Huachalla, Marcelino, 216Huamanga Basin, 252Huari,4Middle Horizonchronology, 251map of spheres, 250

mortuary practices, 281Huayna Capac, 186

Iconography: see Ceramic iconography,Conchopata D-shaped temple;Chachapoya iconography

Illegal antiquities, publication of, 25-26Inca conquest of Chachapoya, 140-141Isbell, William H., 3-20, 23-34, 181-188,239,

249-305, 258, 357-364

Jackson, Margaret A., 4, 107-135, 358Moche art, 29

Jequetepeque drainage, 149Jequetepeque Valley, 3Johnson, David w., 307-332Jones, Bradford M., 157-177Juri-juri, 347-348

Kantatayita, 216Kaulicke, Peter, 9Kidder, Alfred II, 26Kosok, Paul, 307

Index

Kroeber, A. L., 72Kubler, George, 23Kuntur Wasi, 149

Laguna de los C6ndores, PeruChachapoya iconography, 29-30, 137-155,

358chullpas, 141-143,144, 150feathered headdress, 151

Lake Titicaca, 189, 249Lake Titicaca Basin, map of, 36Lambayeque Valley, 3La Mesa, 340, 341, 345, 346LandscapesConchopataD-shaped temple, 225-247Middle Horizon, 249-305

introduction, 181-188materiality, 361-362Northern Andean Highlands, 186, 333-354Rio Grande de Nazca drainage, geoglyphs

and subterranean water resources, 307­332

Tiwanaku, 183, 189-223Late Horizon, Gran Pajaten, 150Leon, Carlos Williams, 182"Little Pumapunku," 210, 2Il, 213, 218, 220L1aqtacocha, 142Looted art, 93-94Conchopata, tombs, 284ethical issues in display and publication, 25-

26Los Dioses del Antiguo Peru, 9Lukurmata, 249Lumbreras, Luis G., 257

Mabee, Stephen B., 307-332Maijo Grande, 3Il, 318Makowski, Krzysztof, 8-9Markingface markingsCamelid woman, Pucara ceramic art, 44Feline man, Pucara ceramic art, 51, 52

materiality and, 360-362Moche pottery (Cerro Mayal, Peru)mold inscriptions, register marks, 116-117

Massacre at Huaca de la Luna, 3Materiality, cultural production and

reproduction, 10, 359-362McClelland, Donna, 9, 10

371

McEwan, Gordon, 182Mejia Xesspe, Toribio, 307, 308Menzel, Dorothy, 251, 256, 262, 274Middendorf, Ernst w., 216Middle Formative Period, 174Middle Grande Valley, Nasca 2 textiles, 95, 96Middle Horizonarchives, 25Conchopata, 249-305; see also ConchopataMiniature gateways, Tiwanaku, 208-213Angrand, Leonce, 210blind miniature gateways, 193, 209composite blind miniature gateways, 208,

209,210context of, 212-213Escritono type stones, 2/1full-sized gateways compared, 213-215Gateway A, 210-212monolithic miniature gateways, 210-212niche icons, 212open composite miniature gateways, 210

Miranda, Gregorio Cordero, 207Mission Scientifique Fran~aise 11 Tiahunacao,

217Moche graves, 3Moche painters, 10Moche pottery (Cerro Mayal, Peru), 107-135emergent writing, 129-130hand modeling, 107imagery, 110mold inscriptions, 111-127Fanged Lizard, Il5Frog Mold, Il7interior imagery, 112, Il3pictorial alignments, 111-116pictorial notations, 117-127register marks, 116-117Snarling Fox, /15Wrinkle-Face Whistler mold, 112, Il4

mold technology, 1I0-111

occupational literacy, 127-129pictorial alignments, mold inscriptions, 111­

116pictorial notations, mold inscriptions, 117-

127, 126, 126-127birth bowl, 121, 122bottle production, 121, 124bottles with painted vessel assemblages,125

double chambered rattle, 118, /19

372

Moche pottery (Cerro Mayal, Peru) (cont.)

pictorial notations, mold inscriptions (cont.)

face stamp molds, 126, 126-127Geometric Snake motif, 124rattle inscription, 123rattle player, 118, JI9-120

register marks, mold inscriptions, 116-117Moche style, 28-29Moche war clubs, 128Mold inscriptions, Moche pottery: see Moche

potteryMonkeys, rock art, 340, 347-348bird-monkey forms, 340Piartal pottery, 341-344, 343

Monolithic miniature gateways, Tiwanaku,210-212

Mortuary practicescamelid burial, D-shaped temple,

Conchopata, 229Chachapoya iconography, burial sites, 141­

143Conchopata, Middle Horizon, 280-288, 298burial type 1,282,283burial type 2, 282, 283burial type 3, 282, 283burial type 4, 282, 283, 284-285burial type 5, 283, 285-287burial type 5b, 285-287, 286burial type 6, 283, 287burial type 7, 283, 287-288gold artifacts, 287niched halls, 281pregnant woman skeleton, 284

Moseley, Michael E., 10Mummy Bundle, 38Nasca 2 textiles, 83, 85

Mummy Bundle 89Paracas Necropolis textiles, 82

Museo Nacional de Antropologia yArqueologia, 262

Museum fur VOkerkunde, 6Museum of the Central Bank of Ecuador in

Quito, 344

Nair, Stella, 183-184, 189-223Nasca potteryGoteborgs Etnografiska Museum Textile,

similarities, 88Nasca I, 74Helsinki Panpipe, 81, 81-82, 85

Index

Nasca pottery (cont.)

Nasca (cont.)

Paracas Necropolis textiles, comparison,78,80-83

Nasca 1-3, similarities with GoteborgsEtnografiska Museum Textile, 88

Nasca 2drum, 76Haeberli Panpipe, 75, 85, 90

Nasca 3, 101Nasca society, 25Nasca textiles, 358Cahuachi,76double-faced embroidery, 74early Nasca textile tradition, 98-100embroidered textiles, 99flounces and borders, 99Goteborgs Etnografiska Museum Textile,

similarities, 88Nasca 2, 83-98Cabildo Gravelot, 93-98Mummy Bundle 38, 83, 85painted cotton ceremonial cloth, 93sites with Nasca 2 occupations in MiddleGrande Valley, 95, 96

Nasca 3, 73, 98, 101painted cotton textiles, 99Paracas Necropolis, differentiating, 71-105Nativity theme, 40Nazca Fault, 315, 325-326Nazca River, 327Nazca Valley, 322NOble houses, Equatorial Andes, 157-177; see

also ChalluabambaNorthern Andean Highlands, rock art, 186,

333-354, 358ethnohistory, 333-337geographical context, 333-337historical contest, 333-337myths and, 346-348petroglyphs, 337-341Pimampiro district, 333-334, 335, 346, 349,

358regional iconography, 341-346

Obsidian, Pucara ceramic art, 37Occupational literacyMoche pottery (Cerro Mayal, Peru), 127­

129Ocelot, 149, 153n. 6

Index

Ochatoma Paravicino, Jose, 184, 225-247,258, 261, 263

Open composite miniature gateways,Tiwanaku, 210

Orcona, 312, 314, 322-324Orcona Lineament, 323-324Oriente, 334Oversize ceramic offering tradition,

Conchopata, 259-277bird, realistic, 266decorated urn, 274excavation of room EA-36, 270face-neck jars, 259, 261, 264, 271-273face urn, 268floating bird attendant, 266floating feline attendant, 265front-face diety, 265map, 2551977 OCO Type IB, 261, 263, 2641997/98 OCO Type 2, 2631999A OCO Type 2, 263, 265, 2661mB aco Type IA, 264, 267, 267, 268, 2691999C aco Type 4, 2671942 aco Type lA, 255, 262-263OCO Type I, 260aco Type 2, 260, 261OCO Type 3, 262aco Type 4, 2622000A OCO Type lB, 267-2682000B OCO Type lB, 268-269, 272, 2732000c oeo Type 3, 269, 2742000D aco Type 3, 269-270, 275200iA aco Type 3, 270-271, 276200lB aco Type 3, 271-277types of, 259, 260urns, 259, 261warriors in boats, 275woman nursing spotted feline, 267

Oversize urns, decorations on rimsD-shaped temple, Conchopata, 242

Owl MotifCamelid woman, Pucara ceramic art, 45, 49, 63

Painted cotton ceremonial clothNasca 2 textile, 93

Palace compoundsConchopata, Middle Horizon, 292-295Pampa de San Jose, markings: see Geoglyphs

and subterranean water resources, RIOGrande de Nazca drainage

373

Panion, Tonya, 314Paracas. Primera Parte (Tello), 7

Paracas altar cloth, 92Paracas Fabrics and Nazca Needlework (Bird

and Bellinger), 74Paracas Necropolis textiles, 28, 71-105, 358Block Color style, 28, 75, 83, 87-88, 97Brooklyn Museum Textile, similarity

between border imagery, 85differentiating from early Nasca, 71-105Goteborgs Etnografiska Museum Textile,

similarities, 87Mummy Bundle 89, 82Nasca 1 pottery, comparison, 78, 80-83

Paracas Peninsula, 89Paracas studies, 27Paste groups, Pucara ceramic art, 38Peabody Museum, Harvard, 35Pefia de Ocucaje, 80Perez, Ismael, 258Peruvian School, 6-7Petroglyphs, Northern Andean Highlands, 337­

341Phoenicopterus chilensisFeline man, Pucara ceramic art, 64

Piartal pottery, monkeys, 341-344, 343Pictorial alignments, mold inscriptionsMoche pottery, 111-116Pictorial notations, mold inscriptionsMoche pottery, 117-127birth bowl, 121, 122bottle production, 121, 124bottles with painted vessel assemblages,125

double chambered rattle, 118, 119face stamp molds, 126, 126-127Geometric Snake motif, 124rattle inscription, /23rattle player, 118, 119-120

Pimampiro Archaeological Projectpetroglyphs, 337

Pimampiro district, 186, 333-334, 335, 346,349, 358

Pink PlazaConchopata, Middle Horizon, 291-292

Pit kilnsConchopata, Middle Horizon, 279-280

Plant motifCamelid woman, Pucara ceramic art, 47Polygamy, 185

374

Pontificia Universidad Cat61ica del Peru, 8-9Posnansky, Arthurfull-sized gateways, 193"Little Pumapunku," 210, 211, 213, 218, 220Pumapunku, 196, 217

PotteryBurnished Black, 159, 161, 163, 165, 166,

167, 172-174Challuabamba, 159-163, 358bat, head, 166chief's house, 167-172content, 172-175cosmological symbolism, 164-167Cuts I, 2 and 3, 169Cut 4, 170, 171Cut 5,171effigy jar, 167firing practices, 164medium, 172-175oxidized wares, 165percentages of each type by level, 163periods and types, 162political ideology, 172-175rims, number of, 163stamps, seals, and ceramic cup sherds, 168

Conchopata, Middle Horizon, 277-280firing areas, 279pit kilns, 279-280

D-shaped temple, Conchopata: see D-shapedtemple, Conchopata

Formative Period, 30-31Moche: see Moche pottery (Cerro Mayal,

Peru)

Nasca I pottery, 74, 78, 80-83Piartal, monkeys, 341-344, 343Pucara: see Pucara ceramic artRed-and-Black, 159, 161, 163, 172Red-on-Cream, 159, 161, 163, 164

Pozzi-Escot, Denise, 258Proto-writing, Moche pottery, 107-135Proulx, Donald A., 307-332Prozten, Jean-Pierre, 182, 183-184, 189-223Pucara ceramic art, 26-27, 35-69analysis, 38-40Camelid woman: see Camelid woman,

Pucara ceramic artChavin,37classification, 38-40design, defined, 39documentation, 38-40

Index

Pucara ceramic art (COni.)element, defined, 39Feline man: see Feline man, Pucara ceramic artfemale, 39iconography, 38interpretation, 38-40interpretive goals, 40Lake Titicaca Basin, 36-37map of, 36

male, 39motif, 38-39obsidian, 37paste groups, 38personage, 39spatial contexts, 40surface finish, 38theme, defined, 39vessel shapes, 38Yaya-Mama Religious Tradition, 36-38, 66-

67Pucara iconography, 24, 26Pumapunku: see Gateways of PumapunkuPyroengraved profile feline on hollow bamboo

container, 146

Quebrada Atarco, 324Quebrada Usaca, 313, 326

Rattle inscription, Moche pottery, 123Rattle player, Moche pottery, 118, 119-120Rayed Head MotifCamelid woman, Pucara ceramic art, 44,48-49

Real Alto, Valdivia site, 171, 172Red-and-Black pottery, 159, 161, 163, 172Red-on-Cream pottery, 159, 161, 163, 164Register marks, mold inscriptionsMoche pottery, 116-117Religious art, Conchopata, 249-305Rio Abiseo National Park, 150Rio Grande de Nazca drainage, 28, 73, 79geoglyphs and subterranean water resources,

307-332; see also Subterranean waterresources, Rio Grande de Nazcadrainage

regional map, 311Robles Moqo Style, 251, 256Rock art, Northern Andean Highlands, 186,

333-354ethnohistory, 333-337

Index

Rock art, Northern Andean Highlands (cant.)geographical context, 333-337historical contest, 333-337myths and, 346-348petroglyphs, 337-341Pimampiro district, 333-334, 335, 346, 349,

358regional iconography, 341-346

Rojas, Josue Lancho, 314Room EA-36, excavationConchopata, 270Rosero, Humberto, 345

Sandoval, Abelardo, 239Sandstone Gateway, 205Sawyer, Alan R., 27-28, 79Nasca 2 Cabildo Gravelot, 93-98

Schmandt-Besserat, Denise, 129-130Semasiographic systems, 107Senechal de la Grange, E., 217Severed Head MotifFeline man, Pucara ceramic art, 53, 54-55,55-56, 61, 65, 66

Shanshipampa, 337, 338-339, 340, 344, 346,349

Silva A Phase, 276Silva Phase, 291Silverman, Helaine, 3-20, 23-34, 181-188,

357-364Siona people, 174Smithsonian Astrophysical Observatory, 308Snakesfeline-headed snakes, Pucara ceramic art, 50,

54, 56Geometric Snake motif, 124Northern Andean Highlands, pottery, 345

Snarling Fox, Moche pottery, 115Socos Valley, 322Solar clockD-shaped temple, Conchopata, 234-235Spatial organizationConchopata, Middle Horizon, 288-296Spatial patterning, 183Standing warriorsD-shaped temple, Conchopata, 232

Stierlin, Henri, 308Stone-Miller, Rebecca, 182Stiibel, AlphonsGateway of the Sun, 198"Little Pumapunku," 210, 211, 213, 218, 220

375

Stiibel, Alphons (cant.)Museum fUr Vokerkunde, 6Pumapunku, 193, 195-196significance of gateways, 192

Subterranean water resources, Rio Grande deNazca drainage, 307-332, 312, 314,322-324

archaeological analysis, 317-318Cerro Aja, 312, 313, 319-322, 329Cerro Colorado, 313, 316, 317, 327-328faults, 315, 316, 319, 320, 321, 322, 325-326geological mapping, 316-317geophysical analysis, 318hypothesis, new, 309-312archaeological analysis, 317-318conceptual model to explain, 328-329development of, 309-312geological mapping, 316-317geophysical analysis, 318methodology, 315-319regional map of drainage, 311results, 319-328Schreiber-Lancho Rojas model, 310study areas, 312-315surveying, 318testing hypothesis, 312-319water sampling program, 319

surveying, 318Usaca, 313, 324-327water sampling program, 319

Sucre, Marshal Jose Antonio, 215

Tello, Julio C.Aja Fault, 321Arqueologfa del Valle de Casma, 7Chavfn, 7co-evolution, on, 9Conchopata, 251, 256-257civic center, 289oversize ceramic offering tradition, 262

Paracas. Primera Parte, 7Paracas treasures, 24, 71Peruvian School, 6-7Pucara ceramic art, 36textiles excavated, 27

Textiles, 27-28Brooklyn Museum Textile, 83-86Cleveland Museum of Art Textile, 92-93D-shaped temple, Conchopataoffering sherds, 233

376

Textiles (cont.)

Goteborgs Etnografiska Museumother textile, 90, 91Goteborgs Etnografiska Museum Textile,86-89

looted, 93-94Nasca, 71-105; see also Nasca textilesParacas Necropolis, 28differentiating from early Nasca, 71-105

Tiwanaku, 183, 189-223Akapana Gateway, 201, 202, 203anticephaloid architraves, 207-208curved architraves, 205, 207full-sized gateways, 193-208miniature gateways compared, 213-215Gateway I (Pumapunku), 195, 196, 197Gateway II (Pumapunku), 194, 195-196, 197,203

Gateway III, 204, 214Gateway III (Pumapunku), 194, 204, 206,

214Gateway IV (Pumapunku), 196Gateway A, 210-212Gateway of the Moon, 191, 193, 204-205location of, 216-217Gateway of the Sun, 191, 193, 195, 196-201,

203-204, 221location of, 215-216gateways, significance of, 191-193Gateways of Pumapunku, 189, 193, 195-196location of, 217-218half-scale gateways, 218introduction, 189-191location of gateways, 215-218map, 190map of spheres, 250miniature gateways, 208-213full-sized gateways compared, 213-215Sandstone Gateway, 205

Index

Trancas River, 326Tuza style footed bowl, 345

Uhle, Max, 157Gateway of the Sun, 198Museum fiir V<ikerkunde, 6Pumapunku, 193, 195-196significance of gateways, 192UnkuChachapoya iconography, 145-146,147,

148Urns, oversize, Conchopata, 259, 261D-shaped temple, decorations on rims, 242Usaca, 313,315,324-327

Valdivia site, 171, 172von Daniken, Erich, 308von Hagen, Adriana, 29-30, 137-155, 358

Warrior Priest, 3Warriors kneeling in reed boats, potteryD-shaped temple, Conchopata, 231, 297oversize ceramic offering tradition,Conchopata, 275

White CourtyardConchopata, Middle Horizon, 291-292Winged Man MotifFeline man, Pucara ceramic art, 59, 62

Woman nursing spotted felineoversize ceramic offering tradition,Conchopata, 267

Wrinkle-Face Whistler moldMoche pottery, 112, 114

Xesspe, Mejia, 71

Yaya-Mama Religious TraditionPucara ceramic art, 36-38, 66-67