Shamans, Supernaturals & Animal Spirits: Mythic Figures From the Ancient Andes

Moche Wari and Huarmey Cultures
The Moche culture (AD 100-700) is renowned for the monumentality of its
ceremonial architecture; the splendor of its regalia wrought in gold and silver;
and its extraordinary, iconographically rich pottery and portrait vessels. Yet
because of climatic conditions on the north coast of Peru, almost no textiles have
survived among its ceremonial and ritual arts.
Aside from the imagery represented in fine detail on painted ceramics, the closest
reflection of Moche styles of dress and fabric design is a distinctive body of textiles
thought to originate from a site known as Campanario, in the Huarmey Valley. The
region is located about halfway between the Moche (and later Chimú) heartland on the
north coast and the central seaboard dominated by the Lima cultures and the ancient
Pachacamac center. The area seemingly represents the southernmost extension of Late
Moche culture or influence. However, the artistic and symbolic themes reflected in
ceremonial weavings associated with this little-studied culture similarly reveal the
imposition of Wari rule and the impact of Wari cosmology and aesthetics.
It is unclear, therefore, whether the iconography seen in these textiles represents a
transitional phase between Moche and Wari or whether they merely record the
increasing influence of novel Wari religious ideology on fundamental, long-enduring
north-central coast artistic and mythological themes.
The surviving material consists primarily of slit tapestry-woven panels, sleeves and
borders from tunics or short shirts. The development and continued use of this fabric
structure—which is unique to this tradition, and is only found at the coast—indicates
that the Huarmey elites had a reason for maintaining their local styles despite the
obvious prestige associated with Wari icons and ideas. Perhaps it was to emphasize their
cultural distinction and origins, or to distinguish themselves from their Wari overlords
or administrators (some of whom must have been dressed in the classic type of tapestry
tunic).
Textile iconography reflects the fusion of Moche, Wari and locally inspired visual
themes. Indeed, much of the imagery can be related to the wealth of mythical and ritual
narratives painted on earlier Moche ceramics, and may even derive from them. That
influence or legacy is explored in the individual captions.
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