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November 8, 2006

As Dr. Conlee specializes in the archaeology of Peru, we also undertook
AN EXAMINATION OF THE MOCHE STATE

 
Map of Peru showing prominent archaeological sites.
(from Conlee Blackboard Lecture Notes)
The Moche State -- 200BC- AD600
Certainly NOT the earliest state, with no writing system but having complex artwork. The dates quoted above are most certainly the heigh of Moche influence, but Moche culture held some influence for many more years.



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A good, short overview of the culture comes from  http://www.mnsu.edu/emuseum/prehistory/latinamerica/south/cultures/moche.html
"The Moche lived along the Northern Peruvian coastline, where they were relegated to life within the lower river valley. This river valley environment was rich with clay and metals, and gave the cultures of Northern Peru the tools to create extensive artistic traditions and cultures. Unfortunately, Moche artistic expression is the only main way archeologists have been able to interpret and understand Moche culture. No written records were kept by the people, nor were there a predominant written language. 

The Moche occupation of Northern Peru occurred after the gradual demise of Chavin culture. The demise of Chavin culture ended several centuries of political unification within northern Peru. As the small states of northern Peru began to break away from the unified government, and as its citizens turned toward a more structured lifestyle, each state that branched off began to develop its own artistic style. Soon, each had created its own Huanca or temple center, which all city life flourished around. 

These city states were run through a centralized theocratic government system. This change to a more centralized settlement pattern correlates directly with a change in Moche artistic style. As the artistic style of the Moche spread and evolved throughout northern Peru, it became a predominant media of all the states, which lasted for five centuries (from 2,200 BC to 1,200 BC) and underwent five phases of development.

Moche Art
The main historical and cultural record of the Moche lay within its expressive artistic styling. Moche art often represents ceremony, mythology and the daily life of the Moche people. Wonderfully expressive, it depicts everything from sexual acts to ill humans, and even anthropomorphized warriors, deities and humans. Though the predominant medium of the Moche was clay, the other mediums of copper, silver and gold also held a functional post within Moche art. 

The ceramic work of the Moche, took on a highly structured and standardized form, and access to certain types of pottery was limited by social class and status. Most of the Moche pots were found within the numerous gravesites of the north Peruvian river valley (an estimated 90 grave site areas were found), and were buried with the dead. Though the reason for the pots in the numerous Moche gravesites is not entirely known, the variation between graves and the type of pots present allude to some pots having specific ceremonial functions based on the individuals social status. This form of stratification is further supported by the placement of the graves themselves. The graves of the Moche tended to be more lavishly furnished if they were nearer the Huancas (temple centers). This difference in pottery distribution, as well as the difference in Moche residential structures (the more exquisite houses tended to have more pottery), indicate a strict social and cultural hierarchy. In addition to the emphasis on hierarchy, the ceremonial themes of the Moche pottery indicate that the people partook of human sacrifice, and sexually explicit acts. 

In addition to the burial practices of the Moche, the pottery also maintained functional purposes, such as drinking bottles and flaring bowls. These clay pots were usually ornamented by scratching through, or by painting on black, white and red slip (a fine clay with oxide pigments that when fired brings out a brilliant color). In addition to the use of slips, the potters of the Moche used many different techniques in building the pots themselves. Indicative of all Moche art is the stir-up spout which was only made possible by use of extensive hand-building techniques. In addition to hand-building, Moche potters were also adept at mold making, and often times used a combination of both. The Moche artisans were also renowned for their use of silver, copper and gold. Akin to modern metallurgical techniques, the Moche used turquoise inlay techniques as well as simple wax casting. These techniques aided the Moche in making chisels, spear points, fish hooks, digging sticks, tweezers and many other metallurgical goods.

Decline of Moche Culture
The decline of the Moche came abruptly with the rise of Chimu culture. However, Moche culture remains a meaningful premeager to many of the other ceramic and artistic forms found throughout South America, and eventually led to the rise of the great Incan civilizations and their artistic endeavors."



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We revisit Carneiro’s Circumscription and Warfare Hypothesis discussed above with the Moche used as an example. Moche culture. The Moche were forced to live in small drainage areas and along rivers, which were good arable lands, but which were surrounded by arid desert-like lands. The farmland was served by complex irrigation systems. As a village got larger, there was not enough land to farm, so the village would fission off and form another village in the "next valley"--- eventually all of the valleys were occupied and as technology maxed out how much food could be produced, nearby villages began to attack closest weakest villages.

The victor gets land, harvest, and population--- this leads to inequality (victor cs. losers) and bureaucracy (which keeps track of tributes exacted upon losers).

However reasonable this seems to be, there is also the idea implied here that without agriculture there can be now state society, and this is not true. So Michael Mosely, who studied the Peruvian coast, puts forth the Maritime Hypothesis, which argues for that a subsistence base of fish, etc. and small land animals would support a state entity (not without critics, refer to: Of Maize and Men: A Critique of the Maritime Hypothesis of State Origins on the Coast of Peru by David Wilson-- American Anthropologist, New Series, Vol. 83, No. 1 (Mar., 1981), pp. 93-120, available fulltext through jstor).

Short look at significant Pre-Moche Cultures

Changuillo (Chankillo) 342- 120 BC

 
The hilltop fortress of Chanquillo, in the southern Casma Valley, 
is surrounded by thick walls up to 6m (20’) in height. 
Clearly visible in this aerial view are the offset or baffled 
entrances that pierce the two outer walls (Richardson 1994:91).
(from Conlee Blackboard Lecture Notes)
Thought to be hilltop fortresses (see above) but doors were barred from outside-- was this a prison(?) or what? Turns out to habe been a "tinku" (joining of two things-- "In the Andes, a tinku is a "ritual battle." These battles can be part of "festivities or rites of passages and are often sponsored or supervised by political and/or religious authorities." These are similar to games, like boxing, and military training exercises that are done in the United States today. They are celebratory battles that are controlled, as opposed to warfare, which is not controlled or celebratory."-- from Wikipedia), a name for a place where ritual battles took place as a part of religious ceremony wherein blood was needed to be shed to ensure fertility.

Gallinazo 500-200BC

 
(from Conlee Blackboard Lecture Notes)
Gallinazo culture included construction of canals to open up more agricultural lands, development of moundbuilding and differentiation on living quarters (spatial differences, equaling status differences), uses of hilltop defenses, elaborate pottery with similar styles to Moche.

When the Moche and Chicama Valley villages were merged, that's when it's agreed the Moche State arose-- it is uncertain whether the was the result of war or marriage. (Once the Moche state rises there is much iconography which shows many captives.) Moseley sees kin groups which share upkeep of canals, then took over other systems. Elites possibly used religion to also bind people together.

Archaeological Remains of the Moche

Huacas de Moche @ Moche Capital (see map above)

Huaca del Sol --- Where the royals resided.
 
(from Conlee Blackboard Lecture Notes)
Largest structure built in North America -- existing structure 40m tall-- only 1/3 original total height!
Made of an estimated 1,000,000 adobe bricks. 
Had burials on top.  Spaniards re-directed river to flush out treasures.

Huaca del Luna -- Religious area located opposite Huaca del Sol
 
(from Conlee Blackboard Lecture Notes)
Burials were located here, both on top of the mound and in space behind and between mound and mountain.
Also made of adobe bricks. Mound filled with hollow chambers.
Lots of anthromorphic sculptures.

The adobe bricks are quite interesting. All of them are marked (over 100 known markings) possibly to indicate villages which were to provide a certain amount of bricks to the construction as well as labor forces.

 
(from Conlee Blackboard Lecture Notes)
 
Known brick codes. (von Hagen and Morris 1998:91)
(from Conlee Blackboard Lecture Notes)

The Moche likely used  totora, reed boats, there is also evidence they built large rafts, similar to Kon Tiki, to trade goods up and down Peruvian coast.

 
(from Conlee Blackboard Lecture Notes)
Moche culture is best known for the top-quality of their art and metalwork

 
(from Conlee Blackboard Lecture Notes)
Moche stirrup cups, used for serving chicha, corn beer.
These cups also were made with line art, some depicting graphic sexual acts.
An example of Moche metalwork/jewelry
 
(from Conlee Blackboard Lecture Notes)

Moche religion was told in a similar fashion and can be comapred in many ways to the Christ birth stories as told in church murals where the artwork is representational of the religion itself.

At Huaca Rajada in Sipan, discovered by Walter Alva, burials were found where the dead were interred in "costume", representing deities and thus, the dead are themselves re-enacting religious stories.

 
Huaca Rajada
(from Conlee Blackboard Lecture Notes)