Adding an important new chapter to pre-Columbian art history, this volume is the first to assemble and analyze a comprehensive body of ancient Andean architectural representations, as well as the first that explores their connections to full-scale pre-Hispanic ritual architecture.

This multidisciplinary study analyzes the visual, linguistic, and cultural significance of the imagery used by the Moche in their ceramics and murals.

This study focuses on five Moche tombs that were excavated at the site of Dos Cabezas, on the north coast of Peru, between 1997 and 2000. The goal of the volume is to provide full documentation of the tombs and their contents in full color, describe the chronology of construction phases for the pyramid in which they were found, and explain how these tombs expand our understanding of Moche civilization.

Renowned for their monumental architecture and rich visual culture, the Moche inhabited the north coast of Peru during the Early Intermediate Period (AD 100-800). Archaeological discoveries over the past century and the dissemination of Moche artifacts to museums around the world have given rise to a widespread and continually increasing fascination with this complex culture, which expressed its beliefs about the human and supernatural worlds through finely crafted ceramic and metal objects of striking realism and visual sophistication. In this standard-setting work, an international, multidisciplinary team of scholars who are at the forefront of Moche research present a state-of-the-art overview of Moche culture. The contributors address various issues of Moche society, religion, and material culture based on multiple lines of evidence and methodologies, including iconographic studies, archaeological investigations, and forensic analyses. Some of the articles present the results of long-term studies of major issues in Moche iconography, while others focus on more specifically defined topics such as site studies, the influence of El Niño/Southern Oscillation on Moche society, the nature of Moche warfare and sacrifice, and the role of Moche visual culture in decoding social and political frameworks.

Moche murals of northern Peru represent one of the great, yet still largely unknown, artistic traditions of the ancient Americas. Created in an era without written scripts, these murals are key to understandings of Moche history, society, and culture. In this first comprehensive study on the subject, Lisa Trever develops an interdisciplinary methodology of “archaeo art history” to examine how ancient histories of art can be written without texts, boldly inverting the typical relationship of art to archaeology. Trever argues that early coastal artistic traditions cannot be reduced uncritically to interpretations based in much later Inca histories of the Andean highlands. Instead, the author seeks the origins of Moche mural art, and its emphasis on figuration, in the deep past of the Pacific coast of South America. Image Encounters shows how formal transformations in Moche mural art, before and after the seventh century, were part of broader changes to the work that images were made to perform at Huacas de Moche, El Brujo, Pañamarca, and elsewhere in an increasingly complex social and political world. In doing so, this book reveals alternative evidentiary foundations for histories of art and visual experience.

More than a thousand years ago on the north coast of Peru, Indigenous Moche artists created a large and significant corpus of sexually explicit ceramic works of art. They depicted a diversity of sex organs and sex acts, and an array of solitary and interconnected human and nonhuman bodies. To the modern eye, these Moche “sex pots,” as Mary Weismantel calls them, are lively and provocative but also enigmatic creations whose import to their original owners seems impossible to grasp. In Playing with Things, Weismantel shows that there is much to be learned from these ancient artifacts, not merely as inert objects from a long-dead past but as vibrant Indigenous things, alive in their own human temporality. From a new materialist perspective, she fills the gaps left by other analyses of the sex pots in pre-Columbian studies, where sexuality remains marginalized, and in sexuality studies, where non-Western art is largely absent. Taking a decolonial approach toward an archaeology of sexuality and breaking with long-dominant iconographic traditions, this book explores how the “pots play jokes, make babies, give power, and hold water,” considering the sex pots as actual ceramic bodies that interact with fleshly bodies, now and in the ancient past. A beautifully written study that will be welcomed by students as well as specialists, Playing with Things is a model for archaeological and art historical engagement with the liberating power of queer theory and Indigenous studies.

This vivid evocation of an ancient civilization is both enlivened and deepened by the author's sympathetic understanding of customs, rituals and myths which to modern eyes may seem both strange and terrible. It will be widely welcomed by scholars and students of South American archaeology and history, by all those curious to know more about a civilization that for thirteen centuries was largely forgotten.

From the first millennium B.C. until the arrival of Europeans in the sixteenth century, artists from across the ancient Americas created small-scale architectural effigies to be placed in the tombs of important individuals. These works range from highly abstracted, minimalist representations of temples and houses to elaborate complexes populated with figures, conveying a rich sense of ancient ritual and daily life. Although often called models, these effigies were not created as prototypes for structures, but rather to serve as components of funerary practices that conveyed beliefs about an afterlife. Design for Eternity is the first publication in English to explore the full variety of these exquisite architectural works. The vivid illustrations and insightful essays focus on the concepts embodied in architectural representations and the role these intriguing sculptures played in mediating relationships among the living, the dead, and the divine.

Vernacular Architecture in the Pre-Columbian Americas reveals the dynamism of the ancient past, where social relations and long-term history were created posthole by posthole, brick by brick. This collection shifts attention away from the elite and monumental architectural traditions of the region to instead investigate the creativity, subtlety and variability of common architecture and the people who built and dwelled in them. At the heart of this study of vernacular architecture is an emphasis on ordinary people and their built environments, and how these everyday spaces were pivotal in the making and meaning of social and cultural dynamics. Providing a deeper and more nuanced temporal perspective of common buildings in the Americas, the editors have deftly framed a study that highlights sociocultural diversity while at the same time facilitating broader comparative conversations around the theme of vernacular architecture. With diverse case studies covering a broad range of periods and regions, Vernacular Architecture in the Pre-Columbian Americas is an important addition to the growing body of scholarship on the indigenous architecture of the Americas and is a key contribution to our archaeological understandings of past built environments.

Raises the analysis of Moche iconography to a new level through an in-depth study of visual representations of rituals involving sex, death, and sacrifice.