1. ARH 390 Moche Iconography A short history

2. Burial Ritual - Curing Practices ?

3. A King - a Priest – an Ancestor – a God ?

4. PERIOD 1930 – 1960
Rafael Larco Hoyle

5. I/II
Larco 1948
? AD
III IV V AD AD AD

6. Larco Museum
Pueblo Libre

7. PERIOD 1930 – 1960 Rafael Larco Hoyle - 1938, 1939, 1945, 1966
Arturo Jimenez Borja ;
Gerdt Kutscher , 1951, 1954, 1956
J. C. Muelle , 1936
E. Yacovleff and F. Herrera , 1934, 1935

8. The main reason for the diversity in interpretations
of Moche iconography is probably because the viewer
does not feel alienated by the style of the images.
… many of the unusual features of the Chavin de Huantar temple becomes more intelligible if we accept the proposition that fear and awe of the supernatural, combined with social sanctions based on religious ideology, produced a degree of coercion later achieved by institutionalized force. (Richard Burger)

9. Not in Moche Iconography
Agriculture
Domestic activities
Irrigation work
Craft activities

11. PERIOD post - 1960 Gerdt Kutscher – 1958, 1983
First to introduce a method of systematic analysis to Moche iconography
Need to consider each scene as being part of a unified and structured corpus
Badminton

12. PERIOD post - 1960 Gerdt Kutscher – 1958, 1983
Danièlle Lavallée – 1970
Identification of animals and composite subjects

13. Lavallée Three Functions Two Levels 1 – Accompany the dead
2 – Protect the deceased
3 – Surround the deceased with familiar representations of their living world
Two Levels
Natural depictions associated to the physical world
Non-realist scenes, propitiatory in nature

14. PERIOD post - 1960 Gerdt Kutscher – 1958, 1983
Danièlle Lavallée – 1970
Elisabeth Benson –
Create ensembles called complexes
Insist on the symbolic nature

15. 1972 The Mochica: A Culture of Peru
1974 A Man and a Feline in Mochica Art
1974 Salesmen and Sleeping Warriors in Mochica Art
1975 Death-Associated Figures on Mochica Pottery
1978 The Bag with the Ruffled Top..
1979 Garments as Symbolic Language in Mochica Art
1982 The Well-dressed Captives..
1982 The Man with the V on his Headdress..
1984 The Men Who Have Bags in Their Mouths
1984 A Moche Spatula
1985 The Moche Moon
1987 Bats in South American Iconography
1988 New World Deer-Hunt Rituals
1989 Women in Mochica Art
1991 The Chtonic Canine
1991 Seven Human Figurines
1992 The World of Moche
1995 Art, Agriculture, Warfare and the Guano Islands
1997 Moche Art: Myth, History and Rite
2003 Cambios de Temas y Motivos en la Ceramica Moche
n.d. Iconography Meets Archaeology

16. PERIOD post - 1960 Gerdt Kutscher – 1958, 1983
Danièlle Lavallée – 1970
Elisabeth Benson –
Yuri E. Berezkin – 1980
Attempt to create an hierarchy of composite figure based on their frequency in the icono.
Mention the need to use other documents such as ethnohistoric information

18. PERIOD post - 1960 Gerdt Kutscher – 1958, 1983
Danièlle Lavallée – 1970
Elisabeth Benson –
Yuri E. Berezkin – 1980
Anne-Marie Hocquenghem –
Structuralist approach
Use of Panofsky methodology

19. HOCQUENGHEM’S 19 THEMES
1- the throwing of flowers in the air
2- the sexual union between a woman and a mythical being
3- the punishment of women and man in relation to death rituals
4- the craft production
5- the hunt of deer and other animals associated with death
6- the dance of the dead and their association with flies
7- the running scenes
8- the offering and the consumption of coca leaves
9- the scenes of combat and the capture of prisoners
10- the dances of warriors holding a special rope
11- the sacrifice
12- the carrying of sacrificial victims to the guano islands
13- the preparation of the corpses on the guano islands and the ritual hunt of sea lions
14- the entrance of the corpses in the world of the dead and its relations with acts of anal copulation and masturbation (association also with dance with death and deer)
15- the revolt of the objects
16- the scene of games
17- the presentation of cultivated plants and the dances with masks
18- the passage on a rope bridge
19- the feast scenes

20. We interpret Moche iconography with the help of ethnohistoric and ethnographic information on the myths and rituals from the Inca and post-Inca periods contained in written documents and that cover the Andes, the Pacific coast and the Amazonian basin. Despite differences in time and space, or in the ecological conditions of these diverse regions, this method appears to be valid because these diverse cultural areas have always been in regular contact. It is also in the measure that these regions are also constrained with the same ecological system of alternating dry and humid seasons. Structuralist vs. Structural Statements

21. 1- The diverse representations are not independent from one another
2- Each of these scenes are part of a wider context and could be related to more complex scenes.
3- These complex representations are in a limited number and have been reproduced a great number of times, in part or in details and in many different artistic forms.
4- The internal structure of the iconography is such that a similar logic must account for the totality of the representations and the diverse relation between each of them.
5- In consequence the task of the investigator is to attempt to reconstruct the meaning of each of these complex scenes in their totality and in all their details.

22. PERIOD post - 1960 Gerdt Kutscher – 1958, 1983
Danièlle Lavallée – 1970
Elisabeth Benson –
Yuri E. Berezkin – 1980
Anne-Marie Hocquenghem –
Christopher B. Donnan –

23. Donnan’s Iconographical Canons:
scale of the representation and subjects
relative size in between the same actors in a given scene
perspective
depth of field
pose and action
sex differentiation
status
dignity
identification of species

24. Presentation Theme Sacrifice Ceremony Blood Ceremony

25. Presentation Theme or Sacrifice Ceremony

27. El Tuno, E. Calderon

28. Badminton Player
Donnan 1985
Huaca del Sol

29. Individual A
Alva and Donnan 1993
Tomb 1 - Sipán A

30. Individual B
Alva and Donnan 1993
Tomb 2 - Sipán B

31. Individual D
Bourget 2003
Tomb 3 - Sipán D

32. Individual C
Donnan and Castillo 1994
San José de Moro C

33. PERIOD post - 1960 Gerdt Kutscher – 1958, 1983
Danièlle Lavallée – 1970
Elisabeth Benson –
Yuri E. Berezkin – 1980
Anne-Marie Hocquenghem –
Christopher B. Donnan –
Daniel Arsenault 1994
Luis Jaime Castillo 1992