THE MOCHE SOURCES OF ARCHAISM IN CHIMU CERAMICS Author(s): Richard Lewis Burger Reviewed work(s): Source: awpa Pacha:

Journal of Andean Archaeology, No. 14 (1976), pp. 95-104 Published by: Left Coast Press, Inc. Stable URL: http://www.jstor.org/stable/27977648 . Accessed: 29/03/2012 12:17
Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.

Left Coast Press, Inc. is collaborating with JSTOR to digitize, preserve and extend access to awpa Pacha: Journal of Andean Archaeology.

http://www.jstor.org

95

THE MOCHE SOURCES OP ARCHAISM IN CHIMU CERAMICS

Richard L. Burger

an important in the development role of new Archaism played in the Late a and motifs ceramic Intermediate In Ica, Period. styles new ceramic was developed had been imitation of motifs which style by in the same area in the first of the Middle two epochs Horizon. popular The Chimu ceramic of the north been coast has of style suspected long drawing several

for its earlier local Por example, upon styles inspiration. as imitations been Chimu vessels have of Cupisnique recognized source The main of features into incorporated pieces.2 archaistically was no previous Chimu ceramics the Moche of this study style. However, occurrence of archaism been has made. In this article themes will four be examples of Moche Chimu imitation one case the existence of of derivative Chimu vessels sample an earlier and alien by which to the transformed according In of

iconographie definite Moche prototypes it possible to trace makes theme is copied, modified, aesthetic taste of the

presented. and a large the and process finally culture.

later

Mythical
Moche prototype

Pishing

Scene

The most of the force of archaism in Chimu example impressive on no less is a mythical scene than 23 known Chimu depicted scene a fish This shows an anthropomorphic vessels.5 figure catching on the current Based of north coast monster. understanding chronology, were the Chimu vessels in the late and Late Intermediate Period produced ceramics and were made during style one thousand years passed and the imitations.

Late Horizon.4

The prototypes

Early between the

the

of the Chimu pieces

Inteimediate production

are

of Moche III
original

Period. of the

Approximately pieces

Moche

monster and the shirt of the anthropomorphic figure are striped (fig. The other two vessels do not show these stripes The Chimu (fig. 2).
potters based their imitations these on the striping. of terms greater Apparently, own culture, their in Chimu popularity On the Moche a shirt, a are two Chimu since times

scene rare The mythical in question was relatively in fishing from the enormous of known Moche art art. corpus Only four pieces are Moche show this All III scene. Three of bottles. stirrup spout them are and one is painted. are very smoked blackware four pieces All for a few details. On two of these the fish except similar, pieces,

1).

do not use Moche vessels which were in artisans successful extremely the theme seems to have much achieved than it had during Moche times.

headdress,5 On his cheeks

a bird human wears the mythical III prototypes, a belt, on each and a loincloth. bracelet arm, are vertical and his wrinkles prominent lips

96

spread crossed His

to

show

his used flexed.

and float
Opposing the fishing

knees

fangs, are him

teeth. in the In fish fish

The Moche both

teeth style hands,

of

(or weight)
is

which is hooked
monster monster's

the anthropomorphic to identify mythical a fishing he grasps

a bracelet. He, too, has crossed the fish The monster is also fangs. Clearly mythical.0 a caudal fish has anal and dorsal and what fin, openings gill fins, to be superorbital of the fishing line Both termi ends cirri. appear in animal nate The fishhook is the outstretched shown as heads. tongue of one of these heads. Direct imitation Each of the pieces. to lar nearly scene. One the of of This these details scene Moche is in tracing the transformation is useful was on several Chimu copied carefully so simi in fig. illustrated is This 3? piece as contem it was incorrectly that identified

a huge The line.

whose arm

through his
single bears

human

opponent1 s lower
arm also

are figure characters. line with hook

jaw.

grasps

these original

porary with Moche when it was published.7

identical

Moche

Three Chimu bottles

the Museo Rafael

with

Herrera,
All

Museo del Arte

iconography

can

be

the convention Apparently, in detail minor Other changes are more widely spread apart fin and the of the caudal is modified. The anthropomorphic figure shape are and on his The facial wrinkles left has six fingers hand. enlarged are of the Chimu pieces excellent these curved. copies Despite changes, small details such as the superorbital the Moche model. They reproduce as s tongue the fishhook. on the fish1 s head and an animal1 cirri serving the canons the background not of leaving the Moche Even framing plain, on the body of the vessel on the bottom, scene and having shoulders high are maintained.

are s tically vessels have adornos that monkey and bird diagno The Chimu copies in all do not replicate the Moche Chimu. iconography are missing and the In the Chimu imitations, the bracelets details. so that it runs been has to the belt line parallel fishing straightened rein The crossed of both have been of the mythical human. fangs figures and The anthropomorphic is now shown with two fangs terpreted. figure a toothless lower The fish Prom his monster has four teeth. upper jaw. four and a large teeth back fang. jaw come four was no longer of crossed understood. fangs The side fins of the fish monster occur.

(Lima),

and the Miranda

found

in

Larco

Collection

(Trujillo).

Subsequent

Chimu

versions the initial within four were accurate the Chimu subsequent the Moche imitation, artistic tradition. of modification, stages from Moche theme It is each

undergoes possible

Following modification to

less

like

the initial
Chimu

distinguish vessels

imitation.

It

is doubtful
copied

that any of the

pieces.

subsequent

directly

Slightly
Four

modified
vessels the shape

Chimu

direct
high seems

in found shoulders more The static.

imitations.8

The bodies

appear

to

be

direct

of the stirrup
imitations are style

slightly

modified

versions

of

and

scene and the mythical more Chimu in character.

spout bottles

lack

the

97

New changes touches hook On one piece are reversed. of the omitted.

in detail but does the Finally, human.

are

not

positions

mythical

the fish On two of the bottles, the lower monster. jaw of the fish penetrate human and the mythical monster of the fish seems the mouth to be confusion there concerning are of any sort On some of these fangs vessels, noticeable.

Highly modified tions

their of the

are highly modified

The

Five

vessels

represent scene

a is

third

(figs.

4"6).
even

These pieces

stage

in

which

are

the

direct on two are

imita sides

quite

varied

in

differently depicted iconography. the same vessel obvious Two of the most changes 5)? (fig. on the of scenes and the framing of background introduction stippling are Chimu decorative both characteristic Equally techniques. bottom; of The number in the mythical scene. have been wrought changes major and they are increased from two to three been has wrinkles facial gross nose are in the mythical human1s found wrinkles Smaller ly exaggerated. as a human nose. The problems to be no longer which recognizable begins re are human figure of the mythical the dentition noted earlier with solved Larco on' one vessel the

illustrated
Herrera, filled

or fangs. The teeth open but without In fig. is conceptually dentition emptye space previously arc at closed is shown as a deep The mouth 4 it is filled by stippling. are across the incised lines the front. In two of the pieces short can be these mouth narrow the vacant band which closes 6); (fig. as remnants of the teeth. explained mouth appears by the Comparable of The tips fin is occur in changes and anal the dorsal in a haphazard distorted the presentation are rounded fins manner. mon of the fish the off and is No back shown in fang

pieces

(fig.

(figs.

4, 6) and on a vessel

5)

by

showing

the

mouth

in the Museo Rafael

closed.

On

two

other

ster. caudal

the mouth of the fish monster and on two vessels

of the fish and the teeth the hook, on the end of the fishing head line, use of The original are hopelessly and confused. combined metaphorical of the the snout as a hook has been an animal1s lost; instead, tongue the lower it does animal is extended. not pass through jaw of Moreover, to is difficult It so that is obscured. the fish, its meaning original extreme of the line. see what happens at the other head to the animal defined of a clearly notable is the omission Another change or float. line The hands of the two figures gripped originally weight the thumb and fingers in a highly line realistic the fishing manner; of modification, third were In this around the line. shown wrapped stage are Patricia with circular the hands shown crudely indentations. Lyon of the marks may be stylized that these has representations suggested and the palm the fingers between shown on earlier pieces depression

(figs.

5, 6) the animal

the figures are In four of the five pieces, fig. 3)? (e.g., on the left, fish on the right). the "reversed" position (man
that for other than the a first time the stirrup spout mythical bottle. scene

shown in It is
on a

interesting form vessel

appears

98

Stylized A fourth and 8, In 7 more stylized, of to the the stage these, 9 it vessels Moche of and has the transformation in three other also become of known the theme is the seen scene in

figs, even

on all five resemblance ical line human has

been to compen eye has expanded a thoroughly the missing for The end result has nonhuman were The legs, which flexed and in pro character. originally file are now bent to show the mean strain of pulling the fishing line, in opposite some The fish has monster lost also directions. inglessly sate

been has been added

is nearly prototypes of his deprived to his His cheek. ear and headdress.

is pieces, The iconography standardized. The scene bears little identical. or the direct The myth imitations. and ear, A new age nose, headdress,

of its
of its

become body has fish monster is greatly of a necklace. strands in the It floats jaw. the depiction tion of the 5 and 6. In of hook all the and five three

identifying

details,

more

distorted

the superorbital
and

cirri

and teeth.

less

fishlike.

The

The shape
of the two s lower of depic in figs.

and his resemble gill openings enlarged, no longer The fishhook the fish1 reaches This fish1 s mouth. may be a simplification in fig. hook the between 4, or a confusion the of of depiction the vessels, the this of the the

eye

position. One vessel face-neck

Only

(fig. 8) decorative jar with

shows

five vessels on a scene trimming

element shown striped are in the reversed figures are bottles. spout stirrup of

completely reminiscent

a foreign form, a spondylus shell.

Highly
occurs on

stylized
scene the in American Chimu art Museum of

Naturaly

The final of the fishing transformation a single-handled in which is housed jar

are s belt, "human" have been These the mythical details omitted. figure1 the fish1 s gill and the animal head of the fishhook, the curve openings, on the opposite have end of the fishing The mythical human1 s legs line. on the legs. are and the feet These been shown by incision straightened hands of motion. of the figures* Neither eliminate any sense changes the sense of conflict. the fishing further touch removing line, The radical to the loss

History,

New York

(fig.

9)#

Several

more of the few remaining

more

are have been which described probably changes due, scene in the minds of the of the original meaning part, canons of of Chimu artistic of the Chimu artisans and the ascendency as well as The way in to the usual drift of style. static simplicity, can be broken the the changes into that which sequential stages suggests in rather stylized than Chimu on the the the less Chimu pieces, stylized inter be very It would itself. original this Such how long took. process questions, however, of a detailed Chimu ceramic chronology. publication pieces based Moche vessel were on

to esting must await

know

Mythical
A second of example of a mythical figure appears on two

Battle
Chimu

with Crab

depiction This theme

vessel

in the collection

of the Art Institute

the theme is imitation of a Moche an enormous naturalistic crab. battling a double and bridge Chimu vessels: spout

of Chicago

(fig.

11) and a

99

as number "bottle of the illustrated 53 in the catalogue stirrup spout The main Bias the two Wassermann-San difference between Collection. on the unillustrated is that the crab Chimu vessels is depicted piece on each and with three in the carapace two indentations with side legs

(like
occurs

those in fig.

10).
the II mythical to Phase figure (the and author the crab is aware of

scene The battle between on Moche from Phase vessels

an anthropomorphic shown with It head. always on Moche scene and III the II that blackware appears in low relief. vessels decorated This type of decoration particularly in Moche lends and III itself to Chimu imitation. II Furthermore, the mythical the crab1s it on its claws grasps figure vessels, holding on the Chimu vessels. this is to that stance similar In the later side; Moche the anthropomorphic crab is usually grasped by its hair. pieces, it is apparent Thus of a supernatural the tradition although that, a mythological battle and a giant character crab between persisted subsequent in is also phases Phases it is

23 Moche vessels naturalistically

which depict this scene). of Phases only on vessels

However, II and III

the crab is (fig. 10).

shown In

head
they cases

were Moche the Chimu artisans their through deriving times, inspiration or III from a Moche in fig. II feature Another 11 which vessel. sug an archaistic is the taillike basis connected to the hip appendage gests can be interpreted as a confused of the mythical This imitation figure. of the Moche which from the hip and end in an animal breechcloths hang are

(fig.
the

not

10).

Although there are differences

than differences in theme

basic

greater

similarity

between figs. and presentation

between figs.
1 and 9. remain

10 and

In intact.

both

11,

Mythical
Moche battle Another scene clearcut occurs

Battle

with Anthropomorphic Fish

of a complex blackware bridge, the collection of a resembles closely

Moche III San Blas

very piece as number 50 in the Wassermann stirrup an anthropomorphized a fish with Collection. vessels, a knife snakelike headdress in one hand and his holds oppo thick, short, a long, in the other nent1 s hair The opponent has head snakelike hand. are dress and grasps the fish1 s wrist. The two figures shown kicking at each other. vigorously illustrated

down turned vessel with the Museo Rafael Larco

Herrera. bottle spout On both

of a Chimu imitation example on a Chimu double and spout bird head in stylized adornos, This

Geometric Not an all Chimu version It archaistic of

Painted pieces Y imitate stirrup Moche spout low bottle Late relief

scenes
to in be the

of mythical
archaized

conflict.
was

A painted
a Moche

Chimu vessel

(fig.

13) appears
in the

genre of fig.
Moche

12.10
Valley. of

The Chimu piece

probably the Chimu is

was collected
made like into The during

the

by Max TJhleat
Horizon.

Site

The metrically The bottom

body decorated and top

bottles, are panels

vessel, divided

those three main

identical.

of many Moche V geo horizontal panels. in geometric motif,

100

12 and figs. the diagonal

Chimu piece. the use of a hand on the stirrup, like that of Finally, the Chimu piece, is a diagnostic feature of the Moche style, although
the Moche hands are usually solid.

13, axis

is very of the

similar. geometric

There motif

are

Moche

alternates

in which Y vessels as it does in the

The four of Moche imitated in Chimu ceramics themes examples been have here demonstrate the existence of Chimu archa presented or historical hut define its extent they do not fully ism, significance. The unravelling of this must await the results of basic research problem on Chimu chronology, now being done and iconography A. style by Margaret and others. Hoyt which

Acknowledgements thanks Special my attention relevant for bringing two archaistic A. Hoyt me with H. Rowe for providing photo de Antropolog?a Museo Nacional vessels y I also to thank wish Patricia J. Lyon for many and Vianne for everything. Ramirez-Burger and to Margaret to John from the

vessels graphs

to of

Lima. Arqueolog?a, helpful suggestions

revised SPECIMENS STUDIED

are Only

June 4, May 6,

1974 1975

Listed

below

all selected

the

in this

tion

of

this

and Moche prototype starting text, in order of closeness to the original model. are been illustrated accompanied previously When it was possible lished illustrations. with the and location abbreviations number catalog are used: of each specimen

list.

paper.

The listing

is by theme as presented

Chimu Moche

pieces pieces,

studied however,

in

followed by Chimu specimens have which All specimens to the pub the reference by the present to determine, The following is provided.

in the body of the

the prepara are included

MNAA, Museo MRLH, Museo ELMA,

Nacional Rafael H.

de Larco

Antropolog?a

Robert

Lowie

Herrera, Museum of

y Arqueolog?a, Lima.

Lima. of

Anthropology,

University

California, Mythical fishing Moche scene prototypes

Berkeley.

MNAA,1/457 (fig. 2)# MNAA, 1/453.

MRLH, no catalog

Cambridge Museum of Archaeology Bushnell, 1957, pi. 25).

number available.

and Ethnology

(fig.

1?

101
Chima direct imitations

Museum of Art, New York, 63.226.2 Metropolitan (fig. 3; Wassermann-San Blas, fig. 55, P. 36; Sawyer, 1966, 1938, no. 81, p. 59)?
Miranda Museo MELH. de Collection, Lima. Arte, Trujillo, Peru.

Chimu slightly modified MELH, three vessels (Larco Hoyle, from right is one of these three). MNAA, 1/452. Chimu highly P. 78). modified
Museum, Vienna Naturhistorisches

1948, p.

51, second

(fig.

4j

Fuhrmann,

1922h,

MRLH,

MNAA, JQ/61 (fig. 5). MNAA, JQ/368 (fig. 6).

two vessels.

Chimu stylized Peahody Museum, Harvard University, 7557 (fig. l? Bennett, 1954, fig. 96, p. 85). Present location unknown (fig. 8; Fuhrmann, 1922a, p. 9).

56, p. 36). MNAA, 2/356.

MNAA, 2/2789.

Present

location

unknown

(Wassermann-San

Bias,

1938,

fig.

Chimu highly stylized American Museum of Natural

(fig. 9).
Others four MELH, which were not possible. vessels displayed which in

History,

New York, 4I.O/5052

certainly such a way

scene this portray that categorization

hut is

Mythical

battle

with crab Private

Moche prototype

Approximate

collection,

Trujillo,

Peru

(fig. (fig.

10). 11; Wassermann

Bias, 1938, fig.

Chimu

imitations

Art Institute of Chicago, 1958.620 San Bias, 1938, fig. 54, P. 35).
Present

53, P. 35).

location

-unknown

(iifessermann-San

Mythical

battle

with anthropomorphic
Moche location

fish

Approximate Present

prototype unknown

50, p.

(Wassermann-San

Blas,

1938,

fig.

33).

102

Chimu

Imitation MRLH.

Geometrie

painted

design Moche prototype

Approximate Present

ELMA, 16-13806
location

(fig.

unknown

12).
(Wassermann-San

116, p.

Blas,

1938,

fig.

70). 13; Kroeber, 1925, pi. 60f). unknown (Larco Hoyle, I963, fig# l?i). NOTES

Chinm imitation RLMA, 4-11 (fig. Present location

Lyon, 2Eowe,
other

1967 and 1969? 1971, PP.

of the the

112-116. dated 24/X/76, the author

theme have been found

^In a note

to the editors
archaized Museum Field

stated,

"Several
the they in the

examples of collections do not necessitate article, Moche mythical ^"This Patterson, 5 of it The this

While Chicago. History, in the analysis modifications any major presented of the importance do serve to underline these pieces Chimu form.11 theme in its resurrected fishing is and based on the with the chronology Margaret is presented A. Hoyt. ambiguous. in Scheele

fishing of Natural

in

estimate 1967> precise

and

discussion of

most detail
as a

the joins and vertically striped. Or. of Sciences, correspond

bird headdress and red head, striped,

on the painted

nature

Moche III

headdress

ad beak on the white which is based tapered thickened the body, made between the distinction and horizontally and the tailfeathers, tapered

piece

(fig.

1).

The interpretation

It

is

shown

in

W.I.

of Curator Follett, believes San Francisco, to an actual species.

Ichthyology the that

at fish

the

California

represented

Academy not does

7Sawyer, 1966, p. 59? g is One of these vessels 9 fig. design

One of these vessels is

illustrated
illustrated

in Larco Hoyle,
in Wassermann-San

1948, p.
Blas,

51?
1958,

56, p. 10

36.

as shape, identified

vessel with a See also Larco Hoyle, 1963> fig# 94> for a Moche on our fig. 12 but on a different on the body very similar to that
well as by Larco fig. Hoyle I6I for a vessel as Chimu-Inca very from similar to our fig. I3 and Chicama.

103
BIBLIOGRAPHY
Wendell by Bushnell, Clark

Bennett,

1954

Ancient arts
Simon Geoffrey and

of the Andes.
Schuster,

New York.

Museum of Modern Art;

distributed

Hext Revised

1963

Peru.

New York. Ernst Reich

Ancient Peoples

Sutherland edition.

and Places.

Frederick

A. Praeger,

Fuhrmann, 1922a

der

Inka.

Folkwang

Verlag

GMBH, Hagen,

Germany.

1922b
Kroeber,

Pera
Alfred California vol.

II.
Louis

Folkwang Verlag collections

in

GMBH, Hagen, Germany. from Moche. University

and

1925

The Ohle pottery

21, no. 5?

of

Publications Berkeley.

American

Archaeology

Ethnology,

Larco

1948 1963
Lyon,

Hoyle,

Rafael

Cronolog?a Las ?pocas

Jean

arqueol?gica
Americana,

del norte
Aires.

del Peru. Lima.

Sociedad

Geogr?fica

Buenos

peruanas.

The author,

Patricia

1967 1969

the origins of the lea Innovation through archaism; Pacha 4, 1966, pp. 31-62. style. Nawpa Berkeley. A redefinition
? 7-14. Berkeley.

pottery 6, I968,

of the Pinilla

style.

?awpa Pacha

Rowe,

John

1971

The influence
Conference on Benson, Editor, and Collection,

Howland

of Chavin art
Chavin, pp. 101-^124. for Trastees October

on later
26th and

styles.
27th, Oaks

Dumbarton Oaks
Elizabeth I968, Research Library Washington. P.

Dumbarton Harvard University,

Sawyer, 1966

Alan

Reed Collection. Cummings by New York Graphic

Peruvian the Nathan ceramics; Museum of Art; distributed Metropolitan Connecticut. Greenwich, Society, Ancient Harry, and Patterson, Thomas Carl

Scheele,

1967

of the Chimu style. A preliminary seriation Berkeley. 1966, pp. 15-30.

Bruno John Blas, del antiguo Cer?micas El autor, Buenos Aires. Pera de la colecci?n

Nawpa Pacha

4,

Wassermann-San 1938

Wassermann-San

Blas.

104 KEY" TO ILLUSTRATIONS

Por see

abbreviations

list

of

specimens

studied.

Plate

XXX

1. Moche III red on white, stirrup spout bottle, Pig. 9 inches Museum of Archaeology and Ethnology. Cambridge (22.9 cm.) high. Pig. 2. Moche III blackware, 25 cm. high. stirrup spout bottle, MNAA, 1/457. Photograph courtesy of John H. Rowe. Chimu blackware, 9 3/8 inches (23.8 Pig. 3. stirrup spout bottle, Museum of Art, Gift of Nathan Cummings, 1963* Metropolitan cm.) high. of Art, negative
specimen no. 63.226.2.

no.

179223.

Photograph

courtesy

of

the

Metropolitan

Museum

Plate
4? Pig. Vienna. Museum, 5? Fig. blackware, Photographed Chimu blackware, Chimu blackware, Chimu

XXXI
bottle. 1922b, bottle, jar, p. Naturhistorisches 78. 21.5 18 cm. cm. high. high. MNAA,

MNAA, JO/61.
Fig. 6.

Photograph

courtesy

stirrup spout from Fuhrmann, stirrup spout single-handled

of John H. Rowe.

JQ/368.

Photograph

courtesy

of John H. Rowe. Plate XXXII

Fig.
Lambayeque. Photograph

7.

Chimu blackware,
Peabody

Chimu blackware, 8. Fig. from Fuhrmann, p. 9. 1922a, Chimu blackware, 9. Fig. single-handled of Natural Museum American History, 41.0/5052. provided by Margaret A. Hoyt#

courtesy

Museum, of the Peabody

Harvard

stirrup

spout bottle,

23.6

75577? University, catalog Harvard University. Museum, face-neck Chiclayo. Photographed jar, cm. high. 18.4 jar, Brawn from a photograph

no.

cm. high,

Plate
10. Fig. cm. high. 22.5 of Christopher Moche Private B. Donnan. III blackware, collection,

XXXIII
stirrup Trujillo, spout spout bottle, Peru. Photograph repaired, courtesy

double spout and bridge bottle, 11. Chimu blackware, Fig. of Chicago, Art Institute 1958.620. high. Photograph courtesy of Chicago. Art Institute 12. Moche V red on white, stirrup spout bottle, 22.7 Fig.
said to come from Huaca Esmeralda near Chan Chan, Moche Valley.

18.9 cm. of the cm. high,

RLMA,

of

16-13806. 13. Chimu red on white, Fig. Site B, Moche Valley. RIMA, 4-11?
the Lowie Museum of no. Anthropology, 15-2245.

18.7 cm. high, stirrup spout bottle, Uhle Collection. Photograph courtesy
University of California, Berkeley,

negative

Key

to

Illustrations.

Pig.

Plate Mythical scene. 1, XXX, fishing Figs. 3, courtesy the

prototypes^ Chinm im 2, fig. 3, direct Moche Museum Metropolitan

45 6

Mythical fishing XXXI. Highly Plate scene. Chimu Key modified See versions. Illustrations. to

^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ _ >,ak?J^K?Kt??^K^^^KI^^?i^^^^Ki^^^^^^^^^B^^e??ff^

Plate

XXXII?

Mythical

fishing

scene.

Pigs.

7, Chimu stylized 8,

versio

^^^^^^

Chimu

version.

to Illustrations. See Key

9 8 rj

12, 13, Plate XXXIII? 10, 11, mythical "battle with crab; figs. Pigs. 11, 13, Chimu 12, Moche style; figs. 10, Pigs. geometric painted.
style. See Key to Illustrations.