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

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Duality expressed through figure and form is a key attribute of the Wari aesthetic—a concept explicitly conveyed by this juxtaposition of two shamanic personages. As seen in other sections of the same textile (now in the Metropolitan Museum of Art, New York, and the Museo Chileno de Arte Precolombino, Santiago), these large, marvelous figures march across the entire design field of the tunic, no longer confined to the vertical patterned band. 1 The personages are opposite but complementary. One is a striking jaguar being with vivid black and green pelt markings, the other a supernaturally enhanced human dignitary or ritualist. Their wings, fanged mouths, headdresses and staffs command sacred status. This animal/human dynamic is a fundamental principal of pre- Columbian mythology. The jaguar was not known in the central and southern highlands, where Wari imagery originated. But in the jungle hierarchy, the jaguar was supreme, and that idea was certainly transmitted to, and reinterpreted by, various Andean cultures. The animal was widely adopted as an avatar of leadership, warrior ferocity and spiritual potency—connotations that come alive in this iconography. Jaguar nature is also shamanic nature according to most South American indigenous peoples. So the alternation of the two characters implies a transfiguration, usually revealed in a ritual or trance state induced by a hallucinogen. A decorative border (top), consisting of stylized San Pedro cactus motifs, acknowledges the source. The graphic elements of the composition are outstanding, with a combination of multicolored spots and concentric circles offset by chevrons and wavy, curlicue and eccentric lines. Large target-like circles emphasize the eye, heart and joints—vulnerable or symbolic places on the body that are typically accentuated in Andean iconography. The use of black is especially pronounced and most concentrated in the jaguar character, which dominates the design, seizing both eye and message. There could not be a more impressive garment for a ruler, warlord or high priest. 1 Douglas Newton, Masterpieces of Primitive Art: The Nelson A. Rockefeller Collection (1978): 193. 48
147 Panel from a Tunic Winged Jaguar and Human Staffbearers Wari culture Circa AD 950 Camelid wool; interlocking tapestry weave 7" x 18¼" Literature Frame 1990, 6, fig. 3. Museo Chileno de Arte Precolombino 2010, 35. 49
Page 1: SHAMANS, SUPERNATURALS & ANIMAL SPI
Page 5 and 6: SHAMANS, SUPERNATURALS & ANIMAL SPI
Page 7 and 8: VOLUME ONE Map of Pre-Columbian And
Page 9: 500 BC 0 AD 500 AD 1000 AD 1500 PAR
Page 12 and 13: Tiwanaku and Pukara Cultures Tiwana
Page 14 and 15: 133 Band from a Tunic The Radiant C
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Page 18 and 19: 135 Band A Procession of Supernatur
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Page 22 and 23: 137 Fragment from a Tunic Avian Sta
Page 24 and 25: 138 Fragment from a Tunic Band A Cu
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Page 30 and 31: 141 Shaped Sash or Votive Panel Myt
Page 32 and 33: 142 Band Dismembered Warrior Pukara
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Page 43 and 44: 144 Fragment from a Tunic Avian Att
Page 46: 146 Fragment from the Shoulder of a
Page 52: 149 Panel from a Tunic Transforming
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Page 59 and 60: 152 Section from a Tunic Staff-Bear
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Page 64 and 65: 155 Section from a Tunic Profile He
Page 66 and 67: The graphics of this motif from a W
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Page 70: 159 Fragments from a Tunic (with mo
Page 75 and 76: 161 Fragment from a Tunic Warriors?
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Page 86 and 87: 168 Headband (partial) Human Sacrif
Page 88 and 89: 169 Sash or Headband Decapitator wi
Page 90 and 91: 170 Corner from a Mantle Profile He
Page 92 and 93: 171 Four-Cornered Hat Running Staff
Page 94 and 95: 172 Shin Guard Wari culture AD 600-
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PROVINCIAL WARI WARI-RELATED STYLES
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173 Portion of a Tunic Staff Deity
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HUARI
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176 Bands from a Tunic Crouching Fe
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178 Fragment from a Tunic A Puffer
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180 Panel from a Tunic Mythical Fel
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182 Corner from a Mantle Entwined F
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184 Fragment from a Mantle or Hangi
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185 Double Panel Serpentine Creatur
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187 Fragment "Moon Animal" (Coati/F
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188 Fragment from a Tunic "Moon Ani
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190 Band from a Tunic Quadruped Coa
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194 Corner from a Ritual Cloth? Min
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Moche Wari and Huarmey Cultures The
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197 Fragment from a Tunic or Sleeve
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199 Sleeve or Band from a Tunic Dec
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201 Panel "Monkey" Lord Moche-Wari
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203 Panel from a Tunic Feline and W
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205 Border from a Tunic Mythical Cr
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207 Band from a Tunic? Warrior with
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209 Band "Water Cat" Coastal Wari c
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Chimú and Lambayeque, Chancay and
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of Chanchán’s palatial and admin
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213 Band from a Tunic Ritualist wit
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214 Panel from a Border Narrative S
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215 Fragment from a Garment or Hang
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217 Tassel or Embellishment for a G
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219 Sash with Tab Ends (fragmentary
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222 Panel from a Tunic? Personage i
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229 Band Coati/Fox/Feline Chimú or
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232 Multi-tiered Tassel from a Cere
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233 Fragment from a Garment Scorpio
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234 Three-Dimensional Tassel from a
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236 Sash with Tassels Crowned Birds
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238 Tassel or Figurine Fierce Face
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240 Ceremonial Sling (fragmentary)
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245 Votive Figure (left) Monkey Nor
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247 Textile Figurines Family Group
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248 Textile Figurine Man with Coati
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250 Textile Figurine Woman with Fac
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251 Textile Figurine (unfinished or
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253 Ornamental Pin (right) Wari-inf
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256 Three-Dimensional Textile Adorn
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257 Textile Pendant Splayed Frogs o
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259 Fragment from a Tunic (left, bo
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262 Band from a Garment Bird with H
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Imagery from assorted textiles offe
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267 Painted Frieze Interlocking Fig
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270 Motif from a Mantle or Hanging?
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271 Motif from a Mantle or Tunic Fl
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276 Votive Figurine Scarlet Macaw C
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279 Adornment for a Feathered Crown
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282 Fragment from a Garment Bird Ha
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284 Design Square from a Garment Fe
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286 Fragment from a Tunic Monkey Pe
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288 Three-Dimensional Votive Effigy
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289 Three-Dimensional Animal Figuri
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290 Motifs for a Garment Camelids C
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292 Votive Fiber Sculpture Anaconda
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293 Votive or Dance Ornaments Snake
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295 Motifs from a Garment Double-He
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INKA
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Inka Culture The extraordinary phen
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Although there were many types of t
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304 Coca Bag (chuspa) Chuquibamba s
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1999 Painted Chavín Textiles from
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Rowe, Ann Pollard 1984 Costumes and
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Shamans, Supernaturals & Animal Spirits: Mythic Figures From the Ancient Andes

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