Beruflich Dokumente
Kultur Dokumente
An I n t e r n a t i o n a l s e r i e s f o r Andean archaeology
13-/4
1975
John H. Rowe
P a t r i c i a J . Lyon
Editors
Tawantinsuyu K'uzkiy F a q a r i c h i s q a
I n s t i t u t e o f Andean S t u d i e s - I n s t i t u t o de E s t u d i o s Andinos
Berkeley,. C a l i f o r n i a
1+5
Contents
Introduction.
. D e s c r i p t i o n o f t h e carved elements..... 47
o f L^ke T i t i c a c a ( P a r t i c u l a r l y t h a South) 49
D e f i n i t i o n o f t h e Yaya-Mama S t y l e 57
Forms 57
Motifs 57
Composition 53
Technique 59
Comparison o f d e s i g n m o t i f s 64
The Qalasasaya s t y l e argument " 65
The r a d i o c a r b o n evidence 56
S e r i a t i o n a l order 67
Acknowledgements 68
Dedicat ion 69
Notes .59
Bibliography , .75
Key t o I l l u s t r a t i o n s . 82
Introduction^
One o f t h e m o n o l i t h s r e c e n t l y d i s c o v e r e d i n Taraco i s t h i s
Yaya-Mama s t e l a . We have p r e v i o u s l y p u b l i s h e d a d e s c r i p t i o n and compari-
sons i n two o t h e r a r t i c l e s , based on t h e above-ground p o r t i o n o f t h e s t e l a
o n l y , as observed e r e c t e d i n t h e p l a z a . D u r i n g t h e 1970 t r i p , t h e f i r s t
a u t h o r was p e r m i t t e d , as he had not been on h i s p r i o r , v i s i t , t o u n e a r t h
t h e e n t i r e l e n g t h o f t h e s t e l a . T h i s paper, t h e r e f o r e , adds t o t h e de-
s c r i p t i o n and comparisons made by us e a r l i e r by i n c l u d i n g t h i s b a s a l p o r -
t i o n f o r the f i r s t time. Further, the a r t i c l e attempts t o b r i n g together
v a r i o u s i l l u s t r a t i o n s o f comparative m a t e r i a l d e r i v e d f r o m d i s p e r s e d , oíd,
or sometimes m i s l e a d i n g p u b l i c a t i o n s , and i l l u s t r a t i o n s o f new, p r e v i o u s l y
unpublished monoliths.
Technique: A l l f o u r f a c e s a r e c a r v e d i n a l o w r e l i e f a p p r o x i -
m a t e l y 1 cm. i n h e i g h t ; t h e r e i s no incisión o r g r o o v i n g . The f i n e t e x -
t u r e o f t h e stone p e r m i t t e d a f i n e f i n i s h , and t h e p o r t i o n s i n r e l i e f a r e
o f a d i f f e r e n t c o l o r f r o m t h e green-gray background, b e i n g y e l l o w i s h -
brown t o brown. The c o l o r i n g may be t h e r e s u l t o f p a i n t i n g , perhaps w i t h
a m i n e r a l pigment mixed w i t h g r e a s e , s i n c e n a t u r a l p a t i n a t i o n o r weather-
i n g would p r o b a b l y not a f f e c t t h e d e s i g n elements o n l y .
A more o r l e s s o v a l element w i t h s c r o l l - l i k e o r r e c u r v e d r a y
appendages, p o s s i b l y r e p r e s e n t i n g a s t y l i z e d head, appears v e n t r a l l y as
though a n a v e l on. t h e anthropomorphic f i g u r e s o f faces B and D. The o v a l
element w i t h s c r o l l - l i k e appendages on f a c e B i s most s i m i l a r t o t h e o v a l
element w i t h appendages above t h e s e r p e n t on f a c e A, s i n c e i n b o t h t h e
l o n g a x i s o f t h e m o t i f i s v e r t i c a l , and f o u r o f t h e f i v e c i r c l e s a r e
I
48
elements, w i t h o n l y a p o s s i b i l i t y o f p l a n t l i k e forms b e i n g p r e s e n t .
3. S t e l a f r o m Santiago de Huata, B o l i v i a .
7. S t e l a f r o m t h e v i c i n i t y o f Copacabana, B o l i v i a .
8. Slab f r o m Copacabana, B o l i v i a .
9. Slab f r o m C h i r i p a , B o l i v i a .
11. M o n o l i t h from C h c h a l l a p a t a , B o l i v i a .
Number 1: S t e l a 15 ( f i g . 3) i s so d e s i g n a t e d i n t h e c a t a l o g u i n g
system o f t h e Centro de I n v e s t i g a c i o n e s Arqueológicas de Tiwanaku; i t was
named t h e "Barbada" by Wendell C. Bennett who d i s c o v e r e d i t i n h i s 1932
e x c a v a t i o n o f t h e Semi-subterranean Temple a t Tiahuanaco. S t e l a 15 was
found a l o n g s i d e t h e l a r g e C l a s s i c Tiahuanaco m o n o l i t h , S t e l a 10, which
C a r l o s Ponce Sanginés a s s i g n s t o Epoch I V ; b o t h s t e l a e a r e r e d sandstone.
S t e l a 15 i s Bennett's No. 24, b e l o n g i n g t o h i s S t y l e 3 which he p l a c e d i n
s t y l i s t i c Group I I I c o r r e s p o n d i n g t o Decadent Tiahuanaco t i m e s .
51
a l t h o u g h c a r v e d , i s e x t r e m e l y wom, t o t h e e x t e n t t h a t Ponce r e p r e s e n t s
o n l y a few l i n e s o r elements (see r i g h t s i d e o f f i g . 3 ) . E a r l i e r ,
B e n n e t t i l l u s t r a t e d t h e back, b u t n o t e d t h a t h i s drawing might be i n c o r -
r e c t s i n c e , "...now (1934) n o t h i n g can be seen."•'•''
I n f o r m , t h e Mocachi m o n o l i t h ' i s p i l l a r l i k e w i t h a p p a r e n t l y a l l
f o u r f a c e s carved (one l a t e r a l f a c e i s n o t i l l u s t r a t e d ) , and i s n a r r o w e r
at t h e t o p than a t t h e bottom. I n theme and c o m p o s i t i o n i t , l i k e t h e
Yaya-Mama s t e l a , possesses two anthropomorphic f i g u r e s on o p p o s i t e f a c e s ,
w i t h t h e o t h e r two o p p o s i t e faces ( o r a t l e a s t one o f these l a t e r a l f a c e s )
h a v i n g e l o n g a t e d , u n d u l a t i n g , eared s e r p e n t s . The two personages s i m i -
l a r l y have t h e i r arms b e n t , one p l a c e d above t h e o t h e r , b u t f i n g e r s a r e
n o t o u t s p r e a d ; eyebrows and nose form a "T" a p p a r e n t l y on b o t h personages,
t h e eyebrows s l i g h t l y c u r v i n g j u s t above t h e eyes; t h e eyes a r e c i r c u l a r ; ,
and r e l i e f " b i g o t e r a " o r mouth mask e n c i r c l e s t h e r e l i e f o v a l , c l o s e d
mouth. The Mocachi m o n o l i t h shows one o f t h e f i g u r e s as l a r g e r and more
e l a b o r a t e l y d e c o r a t e d t h a n t h e o t h e r ; s i m i l a r l y , on t h e Yaya-Mama s t e l a
f a c e B i s l o n g e r and c o n t a i n s more elements t h a n does face D.
On t h e a d j a c e n t face o f t h e s t e l a a r e two l o n g , u n d u l a t i n g
serpents s i d e by s i d e f a c i n g downward toward a checkered cross which
separates them from another l o n g u n d u l a t i n g serpent ( o r two s e r p e n t s )
below, a l s o p o i n t i n g toward t h e checkered d r o s s . This design i s v e r y
s i m i l a r t o faces A and C o f t h e Yaya-Mama s t e l a w i t h t h e serpent heads
f a c i n g toward and d i v i d e d by a checkered C T O S S o r checkerboard r e l i e f
which forms a band around t h e e n t i r e s t e l a . The serpents on t h e Huata
m o n o l i t h a r e a l s o eared, b u t have b i f u r c a t e d tongues l i k e some o f those
on t h e s l a b from Copacabana ( f i g . 9 ) .
<»
The s l a b d e p i c t s an i s o l a t e d human f a c e i n l o w r e l i e f w i t h o u t
iñáiSAOft; i t i s c( n l e t e , n o t broken from some l a r g e r p i e c e . I t possesses
55
We have i l l u s t r a t e d t h e p i e c e i n r e v e r s e o r i e n t a t i o n from t h a t
p r e s e n t e d by P o r t u g a l ; t h a t i s , o u r f i g u r e i s t h e upsidé-down versión o f
P o r t u g a l ' s . What i s seen w i t h t h i s o r i e n t a t i o n i s two o v a l f a c e s , p r o b -
a b l y human, s i d e by s i d e s e p a r a t e d by a checkered c r o s s and s h a r i n g a
s i n g l e s e t o f arm.s. The arms em.anate from t h e border i n such a way t h a t
the m.argin may a l s o serve as upper. arms a t l e a s t t o t h e elbows. The arms,
bent up a t t h e elbows, c r o s s one a n o t h e r , a unique p o s i t i o n i n g on Yaya- •
Mama s t y l e p i e c e s . A l s o u n i q u e , i f o u r o r i e n t a t i o n o f t h e p i e c e i s c o r r e c t , \
i s t h e presence o f two personages on a s i n g l e s u r f a c e . Lack o f l e g s on |
personages occurs on Yaya-Mama s t y l e m o n o l i t h s , however. I f viewed i n !
r e v e r s e , so t h a t t h e heads a r e on t h e b o t t o m , t h e n t h e crossed arms have no i
r e l a t e d head, and t h e arms a r e p o i n t e d downward, a manner o f r e p r e s e n t a t i o n í
not found i n e i t h e r Yaya-Mama m o n o l i t h s o r o t h e r s t y l e s from t h e área. |
When viewed t h i s way, t h e two heads c o u l d p o s s i b l y be f r o n t view s e r p e n t i
heads arranged around t h e checkered c r o s s somewhat l i k e those on t h e s t e l a i
from Tambo K u s i ( f i g . 6 ) , o r Santiago de Huata ( f i g s . 5b, c ) . However, |
Yaya-Mama s t y l e s e r p e n t heads do n o t have such noses. í
í
There a r e o n l y f o u r f i n g e r s on t h e hands, which can be compared |
t o o t h e r r e p r e s e n t a t i o n s o f e x t r e m i t i e s w i t h fewer t h a n f i v e d i g i t s such |
as t h e Tambo K u s i s t e l a ( t h r e e f i n g e r s ) and f a c e s B and D o f t h e Yaya-Mama I
s t e l a ( f o u r t o e s ) . The r e l i e f r i n g s m i g h t , by t h e i r l o c a t i o n , r e p r e s e n t |
57
D e f i n i t i o n o f t h e Yaya-Mama S t y l e
The f o l l o w i n g c h a r a c t e r i s t i c s o f t h e s t y l e a r e a c o m p i l a t i o n
o f s i m i l a r i t i e s found among these examples.
Forms
Motifs
i n t h e Taraco s t e l a , s t a r l i k e as on t h e m o n o l i t h f r o m Mocachi, o r
c o i l e d appendages e n d i n g i n t r i a n g u l a r heads as on t h e s l a b s from
C h i r i p a and Copacabana, t o f o o t - s h a p e d appendages a l s o on t h e
C h i r i p a and Copacabana s l a b s as w e l l as t h e s t e l a f r o m Santiago de
Huata.
2. E l o n g a t e d , u n d u l a t i n g , eared s e r p e n t s sometimes w i t h c o i l e d t a i l s ,
or double-headed as on t h e Taraco s t e l a : Serpents have f r o m two
t o t e n u n d u l a t i o n s , w h i l e Pucará s t y l e snakes have no more t h a n f o u r .
The o v e r a l l form o f t h e serpent head i s t r i a n g u l a r , i n c o n t r a s t t o
the u s u a l l y t r a p e z o i d a l head form i n t h e Pucará s t y l e where t h e r e
i s a tendency t o r e p r e s e n t more f a c i a l d e t a i l s ; t h e e x c e p t i o n s a r e
S t e l a 15 and t h e Mocachi m o n o l i t h on which t h e s e r p e n t heads a r e
r e c t a n g u l a r w i t h rounded c h i n s .
3. Anthropomorphic f i g u r e , s t a n d i n g , e i t h e r f u l l l e n g t h w i t h p r o p o r -
t i o n a t e l y s h o r t l e g s , o r head and t o r s o o n l y : Only on s l a b s do
anthropomorphic heads occur a l o n e , two h a v i n g f o o t - s h a p e d append-
ages. A s s o c i a t e d f e a t u r e s a r e sometimes a neck i n d e n t a t i o n on one
of t h e two f i g u r e s on a s t e l a ; round eyes; T-shaped eyebrows and
nose; eyebrows u s u a l l y c u r v i n g o v e r t h e eyes and f o r m i n g a "V" a t
the b r i d g e o f t h e nose; t r a p e z o i d a l nose; open mouth formed by an
o v a l r e l i e f band; mouth masks; hands o v e r t h e c h e s t , u s u a l l y one
above t h e o t h e r never h o l d i n g any o b j e c t s ; a t a i l head adornment
u s u a l l y h a v i n g a z i g z a g o r s e r p e n t f o r m o r c o n s i s t i n g o f some t u r b a n -
l i k e h a t w i t h bands.
5. F r o g / t o a d : T h i s m o t i f occurs o n l y on t h e s t e l a e f r o m Santiago de
Huata and Tambo K u s i . ;
7. R e l i e f r i n g : Not as f r e q u e n t as i n Pucará s t y l e s c u l p t u r e . A v a r i a - -
t i o n , i n t h e form o f a c i r c u l a r and a s e m i c i r c u l a r c o n c a v i t y , occurs i
on t h e s t e l a from Wakka Uyu. i
i
8. Ramiform o r r o o t l i k e elements: Occur o n l y on t h e Taraco s t e l a . ;
i
9. Forked tongue emanating from t h e s e r p e n t s ' mouths: T h i s element i
may r e p r e s e n t barbéis o r w h i s k e r s . I t occurs on t h e Copacabana |
s l a b and on t h e s t e l a f r o m Santiago de Huata. I
i
Composition |
1. A c o m b i n a t i o n o f many m o t i f s , i n c l u d i n g a n t h r o p o m o r p h i c , zoomorphic, J
and g e o m e t r i c elements, o c c u r r i n g on a s i n g l e m o n o l i t h : Of these -|
elements, t h e anthropomorphic i s most s i g n i f i c a n t , a t l e a s t as r e - i
f l e c t e d i n a r e a l coverage. Next, o r perhaps o f e q u a l s i g n i f i c a n c e , I
are zoomorphic elements which m.ay be s u b d i v i d e d i n t o t h r e e forms, |
_ _ ^ ^ — I
.8
59
3. J u r v i l i n e a r manner o f r e p r e s e n t a t i o n w i t h much v a r i a t i o n i n
conventions.
H. Tendency t o carve a l l f o u r f a c e s o f t h e s t e l a e .
5. Some o c c u r r e n c e o f r e l i e f b o r d e r s f r a m i n g t h e elements w i t h i n ,
as found on f o u r o f t h e m o n o l i t h s .
Technique
P r o b l e m a t i c a l Pieces O m i t t e d f r o m t h e Yaya-Mama S t y l e
Another p o s s i b l e Yaya-Mama s t y l e s t e l a i s M o n o l i t h 1 f r o m J u n i p e ,
a mound southeast o f Moho, but a g a i n , d e t a i l s are l a c k i n g . T h e m o n o l i t h
o f r e d sandstone i s carved on one f a c e o n l y , h a v i n g a personage i n r e l i e f ,
p r e s e r v e d "from t h e w a i s t up, whose f a c e i s s l i g h t l y o v a l ; t h e r e i s an i n -
dented neck, arms are bent a t r i g h t angles over t h e chest one above t h e
o t h e r , and t h e hands have f i v e f i n g e r s . The o v e r a l l form o f t h e s t e l a i s
n a r r o w e s t a t t h e t o p ; i t s broken h e i g h t i s 140 cm., w i d t h 55 cm., and
t h i c k n e s s 15 cm.
I r
Mention may be made here a l s o o f tenon heads (cabezas c l a v a s )
f r o m Tiahuanaco, B o l i v i a , which are p l a c e d by Ponce i n t o Epoch I I I .
However, no c l e a r l y d i a g n o s t i c m o t i f s occur on t h e s e weathered p i e c e s
whose f u n c t i o n , moreover, i s almost c e r t a i n l y d i s t i n c t from t h a t o f o t h e r
s t o n e s c u l p t u r e i n b e i n g a r c h i t e c t u r a l components; t h e n o r t h e r n end o f
t h e l a k e b a s i n has n o t h i n g comparable. Other stone heads from Tiahuanaco^"^
share some s i m i l a r i t i e s i n having round eyes, and T-shaped brows and nose,
and t h e r e are a few carved heads i n t h e Puno Museum, i n c l u d i n g one w i t h a
human head on each o f two o p p o s i t e f a c e s , as w e l l - a s one s l a b f a c e i n
Taraco, Perú, which a l s o share some g e n e r a l s i m i l a r i t i e s ; however, f o r one
reason o r another, t h e y cannot be p l a c e d w i t h i n o u r Yaya-Mama group w i t h
any c e r t a i n t y . I n a d d i t i o n , p i l l a r s 5 and 18 (and p o s s i b l y P-40) and S t e l a
14 from t h e Sem.i-subterranean Temple a t T i a h u a n a c o s h o u l d be mentioned
as m o n o l i t h s p o s s i b l y r e l a t i n g t o t h e Yaya-Mama s t y l e , though poor p r e s e r v -
a t i o n does not a l l o w us t o make f u r t h e r a n a l y s i s .
A comparison o f c o n t e x t o f m o t i f s r a t h e r t h a n o f m o t i f s them-
s e l v e s can be made between t h e element w i t h s c r o l l - l i k e appendages, o r
head element, on t h e Yaya-Mama s t e l a ( a l s o o c c u r r i n g on o t h e r Yaya-Mama
s t y l e s c u l p t u r e ) and t h e r e l i e f r i n g element found so commonly on Pucará
s t y l e stone s c u l p t u r e . I n Pucará s c u l p t u r e t h e r e l i e f r i n g u s u a l l y occurs
e i t h e r ( 1 ) v e n t r a l l y on anthropomorphic f i g u r e s , i n t h e p o s i t i o n o f t h e
n a v e l , o r ( 2 ) i n a s s o c i a t i o n w i t h animáis, f r e q u e n t l y w i t h a s e r p e n t l i k e
a n i m a l , t h e r i n g l o c a t e d j u s t above i t s head o r below i t s t a i l . I f we
compare t h e Taraco s t e l a we can see t h a t t h e s c r o l l - l i k e r i g u r e (head)
f o l l o w s t h e same p a t t e r n o f p o s i t i o n i n g o r c o n t e x t as does t h e r i n g on
t h e Pucará m o n o l i t h s , namely, above s e r p e n t heads and v e n t r a l l y o r i n a
n a v e l p o s i t i o n . I n a d d i t i o n , t h e checkered c r o s s a l s o occurs i n t h i s
same v e n t r a l p o s i t i o n i n t h e s t e l a e f r o m Santiago de Huata and Tambo K u s i .
64
Considerations o f Dating
I n a t t e m p t i n g t o p l a c e t h e Yaya-Mama s t e l a and r e l a t e d p i e c e s
o f a l t i p l a n o s c u l p t u r e c h r o n o l o g i c a l l y , we s h a l l c o n s i d e r f o u r l i n e s o f
evidence. One i s a comparison o f design m o t i f s i n t h e s c u l p t u r e w i t h
m o t i f s i n o t h e r media i n o t h e r áreas, p r i m a r i l y t h e south c o a s t o f Perú,
where t h e best comparisons are w i t h t h e l a t e r phases o f t h e Paracas s t y l e
and t h e e a r l i e r phases o f t h e Nasca s t y l e . A second i s an argument ad-
vanced by Rowe i n v o l v i n g a p o s t u l a t e d r e l a t i o n s h i p between t h e Semi-sub-
t e r r a n e a n Temple a t Tiahuanaco and i t s s c u l p t u r e , i n c l u d i n g S t e l a 15, and
t h e n e i g h b o r i n g s e t t l e m e n t a s s o c i a t e d w i t h Qalasasaya s t y l e p o t t e r y . A
t h i r d i s a c o n s i d e r a t i o n o f a v a i l a b l e .radiocarbon evidence. The l a s t i s
t h e s e r i a t i o n a l o r d e r o f t h e Yaya-Mama, Pucará, and Tiahuanaco s c u l p t u r a l
s t y l e s . The c h i e f q u e s t i o n a t i s s u e i s whether the Yaya-Mama group i s
pre-Pucara or post-Pucara, and a l l t h e a v a i l a b l e evidence f a v o r s t h e
former p o s i t i o n .
Comparison o f design m o t i f s
The s t y l i z e d s c r o l l - l i k e f i g u r e s p r e s e n t on a l l f o u r faces o f
t h e Yaya-Mama s t e l a , as we have shown, are a l s o shared by o t h e r s c u l p t u r e
around t h e l a k e b e l o n g i n g t o our Yaya-Mama group. These unique elements
are s i m i l a r t o rayed head m o t i f s which appear on t e x t i l e s from Paracas
on t h e c o a s t . T h i s head m o t i f w i t h s c r o l l o r r e c u r v e d r a y appendages
occurs on south coast t e x t i l e s from E a r l y H o r i z o n Epoch 8 t o E a r l y I n t e r -
medíate P e r i o d Epoch 3.^5
Oval faces w i t h p a i r s o f r e c u r v e d r a y s a l t e r n a t i n g w i t h p a i r s
o f s t r a i g h t appendages occur on a headband from t h e Y a c o v l e f f - M u e l l e
e x c a v a t i o n s a t Paracas Cavernas, p r o b a b l y tomb 2 (see f i g . 1 9 ) , ^ ^ and are
p r o b a b l y Paracas 9 as i s a much more s t y l i z e d m o t i f on a headband from
65
S e r i a t i o n a l order
^ Acknowledgements
Dedication
February 9, 1970
r e v i s e d September 27, 1975
NOTES
P a t t e r s o n , 1957, p. 144.
!''i Lí OTE CA
70
^^Kidder, 1943, p l . I I , 4, 5, 5.
37
Hesa and G i s b e r t , 1967, f i g . 1.
38
Mesa and G i s b e r t , 1957, f i g . 10; Ponce SanginSs, 1961, pp. 25-27,
39
Ponce Sanginés, 1959, p. 39, f i g . 23.
un
Posnansky, 1958, p. 123, p l . LXXVI.A.a.
1+1
P o r t u g a l Zamora, 1951.
42
P o r t u g a l Zamora, 1957, p, 241,
43
P o r t u g a l O r t i z , 1971,
44
Lynch, 1974, p, 384,
"^^Ponce Sanginés, 1957, pp. 130-131, 133, and 135, f i g . 29; 1970,
p, 45, f i g . 28.
''^Dwyer, p e r s o n a l comraunication.
76
Dwyer, p e r s o n a l communication. A l l r e l a t i v e dates r e f e r r i n g to
the l e a ceramic sequence which a r e given f o r the t e x t i l e s mentioned i n
t h i s s e c t i o n have been k i n d l y provided by Dr. Jane P. Dwyer whose r e s e a r c h
has involved the study of "Paracas" t e x t i l e s .
''''lello, 1959, p l . LXXIX and caption.
na
Valcárcel, 1932, p l . 1, f i g . 5.
®\ing, 1965 , f i g . 7.
71+
S. Chavez, ms.
^^"^Ralph, 1959, pp. 55-57; P-115, P-115, P-124, P-125, P-125, P-141,
P-142, P-143A, P-143B, P-144.
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82
KEY TO ILLUSTRATIONS
Píate X X I I I
Píate XXIV
Píate XXV
Píate XXVI
Píate XXVII
Píate X X V I I I
11 ^
Oo
'.•i.te XXVI. F i g . 13, s l a b c a l l e d "Qota-Achachila" from Qasani i n Yunp.uyo, P r o v i n c e o f C h u c u i t o , Puno,
• r , iTidximuin h e i g h t 30 cm, ; Manuel Chavez ?3all5ii s t e l a , 190 cm. hip,h. See Koy t o I l l u s t r a t i o n s .
Píate X X V I I . F i g s . 15-25, m o t i f s f r o m Paracas and Masca s t y l e t e x t i l e s ; f i g . 26, pyro-engraved gourd
f r o m O c u c a j e , l e a , Perú. See Key t o I l l u s t r a t i o n s .
Ve