The Moche lived
along the Northern Peruvian coastline, where they were relegated to life within
the lower river valley. This river valley environment was rich with clay and
metals, and gave the cultures of Northern Peru the tools to create extensive
artistic traditions and cultures. Unfortunately, Moche artistic expression is
the only main way archeologists have been able to interpret and understand
Moche culture. No written records were kept by the people, nor were there a
predominant written language.
The Moche occupation of Northern Peru occurred after
the gradual demise of Chavin culture. The demise of
Chavin culture ended several centuries of political unification within northern
Peru. As the small states of northern Peru began to break away from the unified
government, and as its citizens turned toward a more structured lifestyle, each
state that branched off began to develop its own artistic style. Soon, each had
created its own Huanca or temple center, which all city life flourished
around.
These city states were run through a centralized theocratic government
system. This change to a more centralized settlement pattern correlates
directly with a change in Moche artistic style. As the artistic style of
the Moche spread and evolved throughout northern Peru, it became a predominant
media of all the states, which lasted for seven centuries (from AD 100
to AD 800) and underwent five phases of development.
The main historical and cultural record of the Moche
lay within its expressive artistic styling. Moche art often represents
ceremony, mythology and the daily life of the Moche people. Wonderfully
expressive, it depicts everything from sexual acts to ill humans, and even
anthropomorphized warriors, deities and humans. Though the predominant medium
of the Moche was clay, the other mediums of copper, silver and gold also held a
functional post within Moche art.
The ceramic work of the Moche, took on a
highly structured and standardized form, and access to
certain types of
pottery was limited by social class and status. Most of the Moche pots were
found within the numerous gravesites of the north Peruvian river valley (an
estimated 90 grave site areas were found), and were buried with the dead.
Though the reason for the pots in the numerous Moche gravesites is not entirely
known, the variation between graves and the type of pots present allude to some
pots having specific ceremonial functions based on the individuals social
status. This form of stratification is further supported by the placement of
the graves themselves. The graves of the Moche tended to be more lavishly
furnished if they were nearer the Huancas (temple centers). This difference in
pottery distribution, as well as the difference in Moche residential structures
(the more exquisite houses tended to have more pottery), indicate a strict
social and cultural hierarchy.
In addition to the emphasis on hierarchy, the
ceremonial themes of the Moche pottery indicate that the people partook of
human sacrifice, and sexually explicit acts.
In addition to the burial practices of
the Moche, the pottery also maintained functional purposes, such as drinking
bottles and flaring bowls. These clay pots were usually ornamented by
scratching through, or by painting on black, white and red slip (a fine clay
with oxide pigments that when fired brings out a brilliant color). In addition
to the use of slips, the potters of the Moche used many different
techniques in building the pots themselves.
Indicative of all Moche art is the stir-up spout which was only made possible
by use of extensive hand-building techniques. In addition to hand-building,
Moche potters were also adept at mold making, and often times used a
combination of both. The Moche artisans were also renowned for their use of
silver, copper and gold. Akin to modern metallurgical techniques, the Moche
used turquoise inlay techniques as well as simple wax casting. These techniques
aided the Moche in making chisels, spear points, fish hooks, digging sticks,
tweezers and many other metallurgical goods.
The decline of the Moche came abruptly with the rise of Chimu culture. However, Moche culture remains a meaningful premeager to many of the other ceramic and artistic forms found throughout South America, and eventually led to the rise of the great Incan civilizations and their artistic endeavors.
Donnan, Christopher B. Moche Art of Peru. UCLA Latin
American Center: California, 1978.
Donnan, Christopher B. Moche Occupation
of the Santa Valley, Peru. University of California Press: Berkley, 1973.
Price, Douglas P, and Feinman, Gary M. Images of the Past. Mayfield Publishing
Company: California, 1997.