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.

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

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.

Moche civilization flourished on the north coast of Peru from AD 200 to 800. Although the Moche had no writing system, they left a vivid artistic record of their beliefs and activities on intricately painted ceramic vessels, several thousand of which are scattered in museums and private collections throughout the world today. Unfortunately, nearly all were looted by grave robbers so their origin and context are unknown. In recent years, however, through a combination of archaeological excavation and stylistic analysis, it has been possible to identify more than 250 painted vessels from the site of San Jose de Moro. To date, this is the largest sample of Moche art from a single place and time. Thus it provides a unique opportunity to identify a distinct sub-style of Moche ceramics, and to assess its range of artistic and technological variation. Moreover, within the sample it is possible to identify multiple paintings by 18 different artists, thus elucidating the range of subject matter that an artist would paint, as well as the variation in the way he would portray the same scene. By discussing and illustrating more than 200 painted vessels from San Jose de Moro, this volume provides insights about a community of ancient Peruvian potters who shared a distinctive painting style and left a fascinating record of their achievement.

Quilter utilizes the Peabody's collection as a means to investigate how the Moche used various media, particularly ceramics, to convey messages about their lives and beliefs. His presentation provides a critical examination and rethinking of many of the commonly held interpretations of Moche artifacts and their imagery. It also raises important questions about art production and its role in this and other ancient and modern cultures. --

This volume explores the art and archaeology of the Moche, who created impressive monuments and metal objects centuries before the rise of the Inca. A major theme of the volume is how the visual arts and political representation are connected.

"This is the largest collection of Moche portraits that has ever been published. As one of the most remarkable groups of portraits produced by any ancient people, it will be of interest to all connoisseurs and scholars of the world's great art traditions, as well as to students of the Moche and prehistoric Andean peoples."--BOOK JACKET.

Over the last decades, considerable effort has been directed towards the study of early complex societies of northern Peru, and in recent years archaeologists have expressed a strong interest in the art and archaeology of the Moche, Lambayeque and Chimu societies. Yet, comparatively little attention has been paid to the earlier cultural foundations of north coast civilization: the Gallinazo. In the recent years, however, the work of a number of north coast specialists brought about a large quantity of data on the Gallinazo occupation of the coast, but a coherent framework for studying this culture had yet to be defined. The present volume is the result of a round table, which gathered some thirty scholars from Europe and North and South America to discuss the Gallinazo phenomenon. In fourteen chapters, authors with different perspectives and backgrounds reconsider the nature of the Gallinazo culture and its position within north coast cultural history, while addressing wider issues about the development of complex societies in this area and within the Andean region in general. The contributions reveal a diversity of perspectives on north coast archaeology, something that is likely to stimulate methodological and theoretical debates among Andeanists, pre-Columbian specialists and New World archaeologists in general.

This volume accompanies a major international loan exhibition featuring more than three hundred works of art, many rarely or never before seen in the United States. It traces the development of gold working and other luxury arts in the Americas from antiquity until the arrival of Europeans in the early sixteenth century. Presenting spectacular works from recent excavations in Peru, Colombia, Panama, Costa Rica, Guatemala, and Mexico, this exhibition focuses on specific places and times—crucibles of innovation—where artistic exchange, rivalry, and creativity led to the production of some of the greatest works of art known from the ancient Americas. The book and exhibition explore not only artistic practices but also the historical, cultural, social, and political conditions in which luxury arts were produced and circulated, alongside their religious meanings and ritual functions. Golden Kingdoms creates new understandings of ancient American art through a thematic exploration of indigenous ideas of value and luxury. Central to the book is the idea of the exchange of materials and ideas across regions and across time: works of great value would often be transported over long distances, or passed down over generations, in both cases attracting new audiences and inspiring new artists. The idea of exchange is at the intellectual heart of this volume, researched and written by twenty scholars based in the United States and Latin America.