Hostname: page-component-cd9895bd7-8ctnn Total loading time: 0 Render date: 2024-12-23T09:10:30.205Z Has data issue: false hasContentIssue false

Archaism or Tradition?: The Decapitation Theme in Cupisnique and Moche Iconography

Published online by Cambridge University Press:  20 January 2017

Alana Cordy-Collins*
Affiliation:
Department of Anthropology/Sociology, University of San Diego, Alcalá Park, San Diego, CA 92110-2492

Abstract

The Cupisnique (ca. 1000-200 B. C.) and the Moche (ca. 100 B. C.-A. D. 800) inhabited much of the same territory of Peru's north coast in Precolumbian times, and both are noted for their extraordinary and distinct artistry. Despite the distinctiveness of the two art styles, various similarities between them have been noted. One investigation concluded that archaistic copying was the explanation for the similarities (Rowe 1971). In contrast, the present study arrives at the opposite interpretation: that the Moche knew the symbolic content of the earlier images and retained it. Decapitation is a concept that is essentially pan-Andean and, therefore, it is not surprising that both the Cupisnique and the Moche subscribed to it. What is surprising, particularly in view of the universality of the idea, is that both groups employed virtually the same cast of characters. This paper demonstrates a continuity of belief between Cupisnique and Moche societies through an investigation of the Decapitator theme.

Los cupisnique (ca. 1000-200 A. C.) y los moche (ca. 100 A. C.-800 D. C.) habitaron en gran medida el mismo territorio de la costa norte del Perú en la época precolombina. Ambos pueblos son notorios por lo extraordinario y peculiar de su arte. A pesar de lo distintivo de sus estilos artísticos, también se han señalado varias similitudes. Rowe (1971) explicó esas similitudes resaltando el arcaismo del arte Moche. En contraste, el presente estudio llega a la conclusión opuesta: que los moche conocían el contenido simbólico de las imágenes tempranas y lo retuvieron. La decapitación es un concepto básicamente pan-andino y, por siguiente, no es una sorpresa que ambos los cupisnique y los moche lo utilizaran. Lo que sorprende particularmente a luz de la universalidad de la idea, es que ambos grupos utilizaran el mismo reparto de personajes. Este trabajo demuestra una continuidad de las creencias entre las sociedades cupisnique y moche a través del estudio del tema de la decapitación.

Type
Articles
Copyright
Copyright © Society for American Archaeology 1992

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

References Cited

Alva, W. 1988 Discovering the New World’s Richest Unlooted Tomb. National Geographic 174(4):510549.Google Scholar
Alva, W. 1990 New Royal Tomb Unearthed. National Geographic 176(6):216.Google Scholar
Castillo, L. J. 1989 Personajes míticos, escenas y narraciones en la iconografia mochica. Pontificia Universidad Católica del Perú, Fondo Editorial, Lima.Google Scholar
Cordy-Collins, A. 1977 Chavin Art: Its Shamanic/Hallucinogenic Origins. In Pre-Columbian Art History: Selected Readings, vol. 1, edited by A. Cordy-Collins and J. Stern, pp. 353362. Peek Publications, Palo Alto, California.Google Scholar
Cordy-Collins, A. 1979 Cotton and the Staff God: Analysis of an Ancient Chavín Textile. In The Junius B. Bird Pre-Columbian Textile Conference, edited by A. P. Rowe, E. P. Benson, and A-L. Schaffer, pp. 5160. The Textile Museum and Dumbarton Oaks, Washington, D.C. Google Scholar
Cordy-Collins, A. 1980a An Artistic Record of the Chavín Hallucinatory Experience. The Masterkey 54(3):8493.Google Scholar
Cordy-Collins, A. 1980b The Dual Divinity Concept in Chavin Art. El Dorado 111(2):131.Google Scholar
Cordy-Collins, A. 1982 Psychoactive Painted Peruvian Plants: The Shamanism Textile. Journal of Ethnobiology 2:144153.Google Scholar
Cordy-Collins, A. 1988 The Jaguar of the Backward Glance. Ms. on file, Department of Anthropology/Sociology, University of San Diego, San Diego.Google Scholar
Donnan, C. B. 1978 Moche Art of Peru: Pre-Columbian Symbolic Communication. Fowler Museum of Cultural History, University of California, Los Angeles.Google Scholar
Donnan, C. B. 1988 Unraveling the Mystery of the Warrior Priest. National Geographic 174(4):551555.Google Scholar
Donnan, C. B. 1990 Masterworks Reveal a Pre-Inca World. National Geographic 177(6):1733.Google Scholar
Donnan, C. B. 1992 New Insights from the Art and Archaeology of San José de Moro. Paper presented at the 32nd Annual Meeting of the Institute of Andean Studies, Berkeley.Google Scholar
Isbell, W. H., and Cook, A. G. 1987 Ideological Origins of the Andean Conquest State. Archaeology 40(4):2733.Google Scholar
Kutscher, G. 1954 Nordperuanische Keramik. Verlag Gebr, Mann, Berlin.Google Scholar
Lapiner, A. C. 1976 Pre-Columbian Art of South America. Abrams, New York.Google Scholar
Lathrap, D. W. 1977 Thoughts on the Subsistence Basis of Chavín. In Pre-Columbian Art History: Selected Readings, vol. 1, edited by A. Cordy-Collins and J. Stern, pp. 333351. Peek Publications, Palo Alto, California.Google Scholar
Mackey, C. J., and Hastings, C. M. 1982 Moche Murals from the Huaca de la Luna. In Pre-Columbian Art History: Selected Readings, vol. 2, edited by A. Cordy-Collins, pp. 293312. Peek Publications, Palo Alto, California.Google Scholar
Moseley, M. E. 1985 The Exploration and Explanation of Early Monumental Architecture in the Andes. In Early Monumental Architecture in the Andes, edited by C. B. Donnan, pp. 2958. Dumbarton Oaks, Washington, D.C. Google Scholar
Roe, P. G. 1974 A Further Exploration of the Rowe Chavín Seriation and Its Implications for North Central Coast Chronology. Studies in Pre-Columbian Art and Archaeology No. 13. Dumbarton Oaks, Washington, D.C. Google Scholar
Rowe, J. H. 1962 Chavín Art: An Inquiry into Its Form and Meaning. Museum of Primitive Art, New York.Google Scholar
Rowe, J. H. 1971 The Influence of Chavin Art on Later Styles. In Dumbarton Oaks Conference on Chavín, edited by E. P. Benson, pp. 101124. Dumbarton Oaks, Washington, D.C. Google Scholar
Salazar Burger, L., and Burger, R. L. 1982 La araña en la iconografia del Horizonte Temprano en la costa norte del Perú. Beitrage zur Allgemeinen und Verleichenden Archäologie 4:213253.Google Scholar
Wallace, A. F. C. 1966 Religion: An Anthropological View. Random House, New York.Google Scholar