Andean Expressions: Art and Archaeology of the Recuay Culture

Notes

notes l 277 notes Chapter 1. Toward a Recuay Prehistory 1. As expressed in the term illa (or ylla), referring to something traditionally treasured. 2. By “tributarios,” the administrative records meant a tribute- or tax-paying individual , most often an able-bodied male adult (married) head of household. Such patterns were also almost certainly affected by Inka conquest and reorganization during the Late Horizon. Chapter 2. Land and Settlement in Ancient Ancash 1. Weather stations at Yungay (2,585 masl; 1953–1969), Huaraz (3,050 masl; 1950–1954), and San Lorenzo (3,750 masl; 1965–1970) averaged 295.8, 773.7, and 853.3 millimeters annually (onern 1973: 3). 2. One account describes how a Catequil idol was brought furtively to Cabana, where a new shrine was constructed for it after the original was destroyed by the Inka (Topic 1998; Topic et al. 2002). 3. Sites are known mainly from reports filed with the Instituto Nacional de Cultura—Ancash, Huaraz. 4. Variations occur from valley to valley, and scholars also define these areas somewhat differently. For example, for the Moche Valley, Theresa Topic and John Topic (1982: 2) define the mid-valley, ca. 200 to 1,000 masl, as beginning where the valley narrows into a gateway. For Proulx (1985: 21–22) and Daggett (1985), in contrast, the valley neck in Nepeña coincides with the beginning of the upper valley at Tomeque, ca. 385 masl (compare also Billman 1996: 30–33, Wilson 1988: 32–33). Chapter 4. Ritual Buildings and Landscapes 1. This is perhaps the fundamental difference between Recuay “galleries” and many of those at Chavín de Huántar, for example, where it is possible to stand upright and appreciate and interact with a religious image such as the Lanzón. Chapter 5. Pottery and Society 1. When Bennett (1944) used “Andean Archaic,” this was actually a misreading on his part. Tello used “Andean Archaic” to describe a number of ceramic styles, including the “primitive technique” of Copa, the classic “Recuay” of the Macedo collection, and Chavín-style wares. In contrast, Kroeber (1944: 278 l notes 93) acknowledged Tello’s intent and called the “primitive technique” of the Callejón de Huaylas the “Lagenaria-type.” 2. The pot used to illustrate the “Pashash-Recuay” style (Bueno M. 1989: pl. 7) may be a fake (see Reichert 1982a). Chapter 6. Objects of Stone 1. I also refer to previous reports and corpuses, which developed using their own criteria (e.g., Schaedel 1952: 1). 2. Wooden examples are also known (see Smith 1977). 3. A number of whole and broken examples, as yet unreported, can also be found in the Museo Arqueológico de Ancash, Huaraz, and Museo Regional de Cabana. 4. At the Sahuanpuncu site near Carhuaz, Steven Wegner and I encountered a tenon-head within a zone of chullpas (Bennett 1944: 62–63). Anthropomorphic heads were described at the site of Huambo, south of Katak, including one example found on the interior wall of an ancient building (Schaedel 1952: 130). 5. See Guaman Poma (1980: folio 289) for a depiction of a “typical” interment in Chinchaysuyo (the northern quadrant of Tawantinsuyo) which shows the distinctive seated position and apparel, including an arching head ornament and wide fanlike collar. Chapter 7. Chiefly Worlds in Artworks and Imagery 1. A tumi is a metal axe-shaped object common to the north coast of Peru. It frequently has a convex, crescent-shaped edge and concave sides, narrowing toward the head. 2. It is possible that metal “garment” pins may also have been worn in the ears. A representation at Pashash (Grieder 1978: 122) shows a male wearing earrings or perhaps metal pins with the shafts bent around (as some were found at the site). Furthermore, some painted representations of Pashash ceramics show frontal anthropomorphic ears simply with a curl (Grieder 1978: 213– 215), which may allude to the curving shaft. 3. Like ancestor effigies in other world cultures, Recuay sculptures may have been wrapped or covered with precious textiles, paints, or other materials in periodic renewal rites. In this way the figure is for the most part concealed. 4. See Bennett (1944); Grieder (1978); and Lau (2006b), among others. It should be noted that some zoomorphic designs are limited to sculpture, while some geometric motifs occur only in the painted models. In addition, not all the painted designs have correspondences in Recuay architecture. 5. Some evidence suggests that the central figure theme emerged first in ceramics (by Middle Recuay...