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Society for American Archaeology

Stone Sculpture in the Callejn de HuaylasAuthor(s): Richard SchaedelSource: Memoirs of the Society for American Archaeology, No. 4, A Reappraisal of PeruvianArchaeology (1948), pp. 66-79Published by: Society for American ArchaeologyStable URL: http://www.jstor.org/stable/25130231.

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STONE SCULPTURE IN THE CALLEJON DE HUAYLASRichard Schaedel

ONEof the most archaeologically significant

characteristics of highland Andean cultures is the stone-sculpturing tradition. Mostof the reports that have been published to datedeal with the more spectacular sites of Tiahuanaco in the south highlands and Chavin deHuantar in the north highlands, but little hasappeared to indicate the widespread existenceof stone sculpture throughout the Peruvianhighlands and the centers where the traditionis particularly strong. It is the purpose of thispaper to summarize the stone sculpture in theCallejon de Huaylas area and to indicate itsrelationship to the accepted archaeologicalhorizons in the north highlands.Since the stone sculpture at Chavin deHuantar has been recently summarized byBennett1 and Kroeber,2 it will be omitted fromthe present discussion except insofar as it relatesto the material here presented. Exclusive ofChavin, then, the area with which we have todeal includes all the Peruvian highlands fromAija on the south to Huambos on the north.Most of the sites where stone sculpture has beenreported fall between the two ranges of theCordillera, predominantly in the Callejon de

Huaylas. Some that will be discussed, however,are on the western slopes of the CordilleraNegra and others on the eastern slopes of theCordillera Blanca, with the sites of Tinyashand Chachapoyas very close to the upperwaters of the Marafion.

Within this area there are some 300 oddpieces so far reported, of which 181 are representations of the human figure, 46 are pumaslabs, and 65 human and animal heads and headtenons. (The term puma slab refers to slabswith relief carving.) In addition there is a miscellaneous assortment of dressed stones andslabs which fall outside of the three majorcategories of stone sculpture.In summarizing the group, our procedure willbe to describe the regional groupings, whereverpossible defining the regional style for eachvariety of stone sculpture (statues, puma slabs,etc.). Then we shall give the evidence for therelationship of the three main varieties of stone

1Bennett, 1942.2Kroeber, 1944, pp. 81-90.

sculpture to each other, e.g., statues to pumaslabs. Finally we shall marshal all the evidencefor the specific assignment of some of the stonesculpture to periods in the established archaeological sequence and indicate the probableassignment of the rest.Before proceeding, itmust be remarked thatcomplete descriptions will only be furnished forthe stone sculpture in the regions of Aija and

Huaraz, where the availability of adequatephotographs and drawings makes a detailedstudy possible. For the other regions the bestthat can be done is to indicate the varieties ofstone sculpture so far reported and their probable relationship to the material in the betterknown regions. This analysis is based largelyupon field notes obtained by Bennett in 1938.

STATUESAija

Aija, which is separated from the Callejonde Huaylas by the Cordillera Negra, is a moreconvenient starting point for our descriptionthan the Callejon proper, both because of thegreater certainty of provenience of the stonesculpture and the greater homogeneity of therepresentations, which allows for the definitionof a style.The Aija style is represented by sixteenstatues of the Warrior type and by eleven ofthe Woman type. The two types were firstrecognized by Tello,3 and subsequent study ofadditional statues confirms this distinction as auseful and valid one.

The Warrior type4 is represented as squattingon the heels with the knees drawn up and thetoes pointing in toward the center of the statue.The right hand grasps a club which rests on theright shoulder, and the left projects forwardfrom a shield which covers the left arm. Atrophy head is suspended from the neck. Thestatues range from 93 to 131 centimeters high.The headdress is usually decorated with full

3Tello, 1923, p. 237.4For illustrations of the Warrior type see: Tello, 1923,Figs. 41, 43, 44; Tello, 1930, Fig. 15, lower, Fig. 16; Tello,1929, Figs. 41-3; Bennett, 1944a, PI. 8, g. I was also per

mitted the study of Donald Collier's photographs of Aijacarvings.

66


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schaedel] A REAPPRAISAL OF PERUVIAN ARCHAEOLOGY67

face or profile pumas, either in their entirety orsuch parts as the heads and paws, birds, andthe hands and feet design, an admittedlyvague term used to describe what may prove

Fig. 55. Aija Type Warrior Headdress.

to be more significant design elements (Fig.55). Hair is shown on the back as a mat in theshape of the blade of a paddle. The ears areusually covered by an ear-flap which may alsobe part of the headgear. Variations are circularand semicircular outlining of the ears and onein which a semilunar earring projects from theear-flap. The eye is circular in shape and theeyeball is usually outlined. Squarish and ovoideyes occur as variants. The nose has a characteristic pudgy appearance and is rounded,although angular modeling is a variant andindicates a different type of chiseling tool.The mouth is commonly indicated by a lateralslit or groove. The outlining of the two closedlips occurs rarely.The chin is characteristically rounded orpointed, but a squarish variant occurs. Theneck is the most deeply carved out portion ofthe statue. It is usually plain but in somestatues it is adorned with a collar or necklace.

The digits of the hands may be delineated asfingers or by obscure incised designs suggestingclaws. The thumb of the right hand is usuallyextended. The trophy in unusual cases is suspended by the hair from the right hand. Typi

Fig. 56. Aija Type Warrior Trophy Heads.

cally, however, it is represented hanging fromthe neck by means of, or without, straps. Themouth end is up, and the hair hangs in straightvertical lines (Fig. 56). The feet, like the hands,

may be decorated with incised designs or realistically carved to represent toes.

The back in all but one statue is adornedwith a suspended trophy head similar to theone in front. The exception is an elaboratelydecorated statue which is also unique for theWarrior type in representing clothing. The backand sides down to the knees are covered byrelief design of alternating bird and arachnif ormfigures and suggests a large garment (Fig.57). A decorated rectangular plaque above theleft shoulder is also peculiar to this statue.The shields (Fig. 58) are rectangular and thedesign consists of diagonally crossed strapswith relief designs in the trapezoidal interstices.

iiih /ri]L \l & j / /JuJ

Fig. 57. Aija Type Warrior Back Designs.

Other design types are lines radiating from acentral circle and an over-all double-headedserpent. In all but the last type, a circular faceis indicated in the center of the shield. Threeprotuberances of unknown significance hangbelow the shield.

The Woman type5 is represented in the samesitting or squatting position. The hands areextended forward on the same level with aflap-like object between them that greatlyresembles the trophy head in the same frontalarea on theWarrior type. The back is decoratedwith a plaque of the same general appearanceas the shield. The size is slightly smaller thanthe statues of the Warrior type.

5For illustrations of the Woman type see: Tello, 1923,Figs. 39, 40; Tello, 1930, Figs. 14, 15, upper; Tello, 1929,Figs. 40 and 45; Bennett, 1944a, PL 8, e, f.


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68 SOCIETY FOR AMERICAN ARCHAEOLOGY [memoirs, 4The headband has a circular disc or clasp

shaped object in front. The hair (Fig. 59) isportrayed by straight and wavy parallel linessuggesting braids, which slope diagonally from

Fig. 58. Aija Type Warrior Shields.

above the temples backwards and downwardsover the shoulders and disappear underneaththe plaque. When not covered by the hair, theear is delineated by a semilunar outline. Inseveral statues fan-shaped earrings6 for strapsrest on the shoulders. The eyes are characteristically ovoid or circular. Loop-shaped eyesoccur as variants. The eyeball is generallyoutlined. The nose is the same as for theWarriortype. A deep lateral groove characterizes themouth. The chin is rounded or pointed, and theneck is deeply hollowed and undecorated.The shoulders are plain or covered with reliefdesign which probably represents part of the

Fig. 59. Aija Type Woman Headdress.

garment. The position of the hands varies fromboth hands at the waist separated by the centralflap to both hands under the neck with a space

6 Seler (1893, PL 14) illustrates an anthropomorphic vasewith an alleged provenience of Huaraz in which the fanshaped attachment is clearly part of the earring.

between them. In one statue the hands are below a bag or purse-like object. The digits of thehand may be clearly defined fingers or have aclawlike appearance. The thigh and legs aremore often represented entirely on the sideplane than in the Warrior type, with only thetoes shown on the front surface.

The frontal space is occupied by a flap (Fig.60) usually divided into an upper part with twocircular discs and a larger lower part of parallelvertical lines or a plain rectangular field. Avariant is the purse-like container already mentioned. The general appearance of the flap suggests a stylized trophy head.All the statues of this type have some element of what might be called clothing, eitherstraps with frontal flap, a decorated waistband, a mantle of varying lengths on the back,with or without a central plaque, or any combination of these. The sequence of decoration

Fig. 60. Aija Type Woman Frontal Flap.

on the back is hair, plaque or mantle, lowerborder beneath the plaque, and decoratedbase (Fig. 61). In some only the plaque is represented. The design on the plaque consists ofdiagonally crossed straps, single, double, ortriple, with a central face design and decoratedintersticial panels.In addition to the twenty-seven statues described there are three others in worn condition. Not enough details could be ascertainedto allow them to be classified into one of thetwo types, but such features as can be observedoccur within the limits of variation for the Aijastyle. This style can now be defined for all thestatues from Aija as constituting the following:

1. The entire body is represented or implied by the undefined area and the over-all shape of the stone. The shapevaries from the usual truncated cone to triangular, rectangular, or prismatic. The average height is 1meter.

2. Emphasis is on the head which occupies from onethird to one-half of the total frontal surface. It has the


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deepest carving at the neck, nose, and eyebrows. The extremities are carved inmuch shallower relief.

3. The head is always decorated, either with a simpleband and hair design, or in more imposing headdresses,with pumas and other zoomorphic figures in varying degreesof relief.

4. The eyes, nose, chin, and hands are always indicated.The hands never cross and are represented at approximately the same height on, or approaching, the front planeof the statue.

5. The eyes stand out in relatively deep relief from thehollowed-out area beneath the temples, although in someinstances they are indicated by only slightly raised surfaces.

The eyeball is usually outlined.6. The nose has a characteristically pudgy appearance

and stands out in rather deep relief at the base.7. Lip modeling is rare, and cheek modeling does not

occur.8. The mouth is usually slit- or groove-shaped. No teeth

are shown.9. The hollowed-out area defining the neck is the most

deeply carved portion of the statues. In profile it frequentlylends an exaggerated emphasis to the chin.

10. Genitals are never represented.11. The feet always point to the center of the statue andare on the same level. They are drawn back under, or

slightly forward of, the thighs.12. All figures carry or wear something in front and back.

HuarazThe largest clustering of statues is in the

Callejon de Huaylas. Where the provenienceis known it isHuaraz or its immediate vicinity;and ifwe allow a certain tolerance for the rangeof distribution of the statues in the collectionsof the Huaraz Museum, Chiclin, and Soriano,the designation Huaraz may be safely adoptedas a shorter and more convenient term for thestatues of the Callejon de Huaylas.

Whereas the statues from Aija are characterized by their homogeneity and stylistic consistency, those from Huaraz are best characterized by the number and variety of the stylesrepresented. Because of the great degree ofoverlap, it is impossible to isolate distinct styleson any but a highly subjective basis. A furtherlimitation to a stylistic break-down is imposedby the necessity of studying the detail of thestatues from photographs and rough fieldsketches. As a result the only traits which werefound to be universally comparable for all ofthe Huaraz statues were those which happenedto be the most readily observed, such as footposition, hand position, size, relative thicknessof limbs, and the presence or absence of genitals,ornaments, clothing or weapons. A series of

major groupings was established on the basis of

these traits. Whether true slabs, in which onlythe front surface or a part of it is carved, shouldbe regarded as significantly distinct from truestatues carved in the round is a difficult question to decide. Since both extremes and all intermediate stages are represented at Huaraz,I have designated all representations of the

human figure as statues. Where slabs seem toform distinct groups or sub-groups on the basisof the same foot position and one or more additionally shared traits, I have regarded theslab technique as secondarily diagnostic. Otherwise, I regard them as slab variants.'' It shouldbe possible to establish valid stylistic subdivisions at Huaraz on the basis of a detailed first

Fig. 61. Aija Type Woman Back Designs.

hand study of the material there and at otherless known sites in the north highlands, andthat is one of the objectives of my present fieldtrip. For the present, the classification intogroups adequately expresses the variety of thestatues at Huaraz and indicates the relativeextent to which local and external develop

ments in stone sculpture were operative:Group A, legs crossed, toes pointing outward to sides of

statue: 49 or 39% of all the statues.Group B, feet position as in Aija statues: 19 or 15% of all

the statues.Group C, knees drawn up on front plane, but toes pointing

outward as in Group A: 18 or 14% of all the statues.Group D, knees drawn up, toes pointing down: 8 or 8% ofall the statues.Group E, sitting position, feet and toe position indeter

minate :6 or 5% of all the statues.


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70 SOCIETY FOR AMERICAN ARCHAEOLOGY[memoirs, 4Group F, standing position, feet pointing in, down, or out:

6 or 5% of all the statues.Group G, squatting position, feet spread, toes pointing out:

3 or 2% of all the statues.Group H, semi-statues in which no feet are represented or

intended. Some extend to the waist and show hands: 16or 13% of all the statues.The first and largest group (Fig. 62) atHuaraz comprises all statues in which the legs

are crossed.7 This position occurs only inHuaraz. Most of the statues in this group aredistinguished by the absence of any decorationor adornment other than the headdress. Theheight varies from 60 to 90 centimeters. Greengranite is the most frequently used material.That the statues represent males is indicatedby the presence of genitals underneath thecrossing of the legs in most of the statues.

Fig. 62. Huaraz Group A.

When the genitals are not represented, there isno corresponding change in the statue to indicate the opposite sex.The headdress is usually smaller than themale headdress in Aija. It is decorated withpuma heads, hands and feet, curvilineardesigns suggesting the sling used as a headdress, and complete profile pumas. Hair isnever represented.Facial details vary considerably. The earsare portrayed as slightly raised and circular inoutline, but they may be ovoid, loop-shaped,

S -shaped, or semicircular in outline as inthe statues at Aija. Eyes show much the samevariation with the addition of a squarish type.The circular contour is most common, and inhalf of the statues the eyeball is outlined. Thenose is predominantly rectangular with atendency towards the trapezoidal in outline.

7 See Bennett, 1944a, Fig. 33, e, for illustration of thisgroup.

In modeling, it is more often angular thanrounded, the reverse of the situation in Aija.The mouth is characteristically delineated by alateral groove, but variations of the slit and lipoutlined types which have been noted in Aijaoccur. Teeth are a characteristic of a small subgroup to be described presently. The chin isusually rounded, although rare variations are

more angular and squared.The neck is usually plain and not as deeplyhollowed out as in the statues from Aija. In afew statues the neck is adorned with a collaror necklace. The hands are always resting ontheir respective knees. The legs are crossedright over left in the majority of cases, but thereverse occurs. The back is seldom decorated.

There is a small sub-group of five statues8 inwhich the feet are crossed but in which thefigure is shown holding a club. Other atypicalcharacteristics of this sub-group are: the absence of genitals, back decorated with one ormore trophy heads, trophy heads in front suspended from the neck or hands, a deeply carvedneck space, and usually a double row of teeth.In four statues the left arm is covered by ashield. The shields are square and appreciablysmaller than those in Aija. In the three clearexamples of shield design, only the crossedstrap motive is represented. The club rests onthe left shoulder in three of the statues insteadof on the right as at Aija. Also different fromAija are the trophies, which are smaller, lackhair, and hang right side up.With the exception of this small sub-group,the first group of statues in Huaraz can be regarded as composed of a number of statuesmost of which represent a local Huaraz style.

At the present time, however, the stylistic conformity of the group shows up only in the frequency or rarity of occurrence, within thegroup as a whole, of certain comparable traits.

The small sub-group shows gross iconographic similarity to the Warrior type at Aija,but on closer examination the resemblances areconfined to the club-shield-trophy head complex. The posture and morphological characteristics relate this sub-group more closely tothe other less ornate statues in Group A.An Aija-like subdivision at Huaraz maybe established from the statues in Group B,and a sub-group of Group C. Of the statues in

8 Some idea of the characteristic appearance of this subgroup can be obtained from the group photograph inBorchers, 1935, p. 352, statue on the near left.


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Group B, six have a closer resemblance to theWarrior type in Aija than any other statues inHuaraz (Fig. 63). They are shown with the clubusually on the right shoulder and the shieldon the left arm. The trophy head is represented

mouth-endup,

and only in this group are.such Aija traits represented as hair on males,semilunar earrings, shield designs of the radiating lines type, and over-all serpent. Unfortunately, the remaining statues are in such poorcondition that it is impossible on the basis ofthe photographs and drawings to determine thedetail in most cases. Nevertheless, there is thesignificant occurrence within the group of such

Aija-like elements as the frontal flaplike object,fan-shaped earrings or straps, and indicationsof clothing.

None of the statues in Group B, however,conforms to all of the specifications previouslylisted for Aija style. In one or another of thegroup occur such non-Aija traits as genitals,teeth, upright trophy heads, and small human

figures.Group C is composed of two significant subdivisions distinguished from each other byrelative size and thickness of limbs. The sub

group of large statues (Fig. 64), averaging 90centimeters and with realistic limb representation, affiliates closely with the Woman type in

Aija.9 Such traits as hair braids, fan-shapedearrings, and over-all back decoration in com

Fig. 63. Huaraz Group B.

bination with the absence of genitals occurmore frequently in this sub-group than in anyother major grouping in Huaraz. The arachni

9For illustrations of front view of this sub-group, seeBorchers, 1935, p. 352, second from far right. For rear viewsee Bennett, 1944a, Fig. 33, d.

form design applied to the sides and back of thefigure is one of the closest parallels betweenAija and Huaraz statues which occurs in thisgroup. Except for the leg position and the

Fig. 64. Huaraz Group C.

pronounced forward hunching of the shoulders,several examples of this sub-group could beincluded in the Aija style.It is worth noting that only in this Aijalike subdivision in Huaraz do we find femalefigures. The predominant emphasis in Huarazstatues, especially in Group A, is oh males,specifically on the membrum virile.The more diminutive statues that comprisethe other sub-group of Group C and the nonslab sub-group of Group D (most of which arealso diminutive) form a second subdivision at

Huaraz. Because of their apparent affiliationswith the diminutive statues from Huantar (tobe described presently), I have termed themHuantar-like. These statues average 50centimeters in height and, except for the characteristic thin, stick-like limbs, show littledetail. Five statues from Group C and five

from Group D comprise this Huantar-like subdivision which is in strong contrast to the nearlylife-size, realistic sculpture of Aija and theAija-like subdivision at Huaraz.The slabs which constitute the remainder ofGroup D are few in number and so badlyworn that it is impossible to obtain furthercriteria for comparison than foot position andsize.

Group E includes the few statues in Huarazin which the sitting position is either intermediate between the positions characteristicof the major groupings or cannot be accuratelydetermined.

Groups F and G are the smallest groups andconsist mostly of true slabs.


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72 SOCIETY FOR AMERICAN ARCHAEOLOGYmemoirs, 4

Group H10 includes all semi-statues. Whilethey have a wide distribution, they resemblethe complete statues in the regions in whichthey are found with respect to the few featuresthat can be compared. These do not add significantly to the repertoire of comparable traits.

HuantarHuantar is represented by fifteen small

statues, all of them about 50 centimeters or lessin height (Fig. 65). They are carved, for themost part, only on the front surface, althoughthe head is occasionally represented in theround. Characteristic of the group is a thin,stick-like representation of the arms and legs.When portrayed, the toes point down or out,never toward the center of the statue. Thefacial details and headdresses cannot be compared because of the inadequacy of the illustrations. In general, the statues may be

described as essentially two-dimensional, although the third dimension is suggested by the

sBa mm \M \^i\\Bfl qd 59 ^^Fig. 65. Huantar Style.

unorthodox convolutions of the extremities.The conventionalization of this type of carvingwas apparently responsible for the foot positions of Groups C and D inHuaraz.

MiscellaneousAt Chacas, a town slightly to the north ofHuantar and likewise on the eastern slopes of

the Cordillera Blanca, two monoliths are reported, one with the arms folded across thebreast and the other with arms upraised underthe chin. The foot position of both indicates asitting pose with the legs drawn in under therest of the body. If these statues are related tothe material previously described, their closestaffinity is with Group E inHuaraz. This sittingposition with legs drawn in, strongly reminiscent of the mummy crouch, is so prevalentthroughout the north highlands and occurs soinfrequently elsewhere that it must be regardedas a general north highland trait in the representation of the human figure.10Borchers (1935, p. 292) illustrates an example of thisgroup from Carhuaz.

The statue discovered by Wiener11 in Cajabamba to the north of Huamachuco shows asimilar crouched position with the hands upraised under the chin.

The slab from Cabana, also reported byWiener,12 shows striking iconographic similaritywith the slabs of Group F in which the feetpoint out. The standing figure from Cabanashares with those in Huaraz the collar aroundthe neck and the long club held diagonallyacross the body in addition to the over-all pose.Cabana is north of the Callejon de Huaylas.The slab from Tinyash13 shows a squattingfigure similar to the slabs of Huaraz Group Gwhich are in turn similar to the central figure onthe puma slabs to be described presently. Tinyash is on theMaranon and the easternmost siteunder discussion.

From Catan on the western slopes of theCordillera Negra, Horkheimer has reported aslab with the Aija foot position and a club onthe left shoulder. While specifically quite distinct (the figure is only 50 centimeters high),the slab is generally related to the iconographyof Aija and the Aija-like subdivisions inHuaraz.14 As such it represents the northernmost extension of north highland statues.

SummaryAlthough not enough is known of the stone

sculpture outside of Huaraz and Aija, somesignificant observations may be made concerning north highland statues in general:

1. At Aija there is a well-defined style of carving statues.It consists of two types: Warrior and Woman.

2. At Huantar there is another local tradition of carvingstatues, which in size, relative thickness of limbs, and footposition are in marked contrast with Aija statuary.

3. At Huaraz, where there is the greatest number andcomplexity of statues, two developments are evident:

a) A predominant, local tradition of carving which isrepresented by Group A. Statues with the characteristiccrossed-leg position of this group occur in no other area;but the sporadic occurrence within the group of characteristics of other sculptural traditions prevents us from defining a Huaraz style.

b) Groupings which indicate affiliations with othertraditions:

(1) The most numerous of these are Groups B and C,which constitute the Aija-like subdivision. Group B andhalf of Group C are shown to be related to the Warrior and

Woman types of Aija, respectively.11Wiener, 1880, p. 137.12Wiener, 1880, p. 496.13Antunez de Mayolo, 1935, Fig. 15.14Horkheimer, 1944, Fig. 20.


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schaedel] A REAPPRAISAL OF PERUVIAN ARCHAEOLOGY73(2) Part of Groups C and D (the next largest group in

Huaraz) relate to the diminutive Huantar tradition andconstitute the Huantar-like subdivision.

(3) The groups which are least represented at Huaraz,F and G, have affinities with statues (actually slabs) frommore distant areas to the north and east.

(4) Semi-statues have a wide distribution and are similarto the complete statues in the regions in which they arefound.

(5) The position of the figure sitting with the kneesdrawn in underneath the body is a general north highlandtrait and relates the statues from Chacas and Cajabamba tothe north highland sculpturing tradition.

PUMA SLABSThe manner of representing the puma in thenorth highlands is restricted to two conven

tions; entirely profile, or with full face andprofile body. The pose in turn is restricted to afew significant variations. In the Callejon deHuaylas and Aija the pose is, with one exception, that of a crouched animal. The degree

Fig. 66. Type One Puma Slab.

of back-arching varies, but the front and hindpaws are invariably on the same level. To thenorth of this area the puma is represented rearing on its hind legs with the front paws extended forward parallel to the hind paws, andthe tail curled behind or below the puma. A

variant of this position occurs in one examplefrom San Benito in the Tantarica region illustrated by Horkheimer15 in which the animalis shown with front and hind paws on the samelevel, but obviously not crouching. It is possible that the slab should be turned on its sideso that the pose of the animal approximates arearing puma; or it may represent a puma on alimb, directing its attention to the area beneathit. A single variation on the position of the fullface puma is represented by the Huambos slabin which the puma is shown as though poisedon a limb; the hind paws are lower than thefore-paw's. This may also be the pose of an incised slab from Chacas, but the claw detail is

missing. However, the style of carving is so*5Horkheimer, 1944, Fig. 21.

distinct, the slabs should not be consideredsignificantly similar.

According to the two modes of representingthe puma face and the three variations in the

Fig. 67. Type Two Puma Slab.

pose, it is possible to establish five puma typeswhich are sufficient to designate all the knownrepresentations of the animal.

Type I is defined as the profile, crouching puma (Fig. 66).It occurs singly, in combination with another puma of thesame type, and with a central human figure or face.

Type II is the puma with profile body and full face (Fig.67). It also occurs singly, doubly, and in combination with acentral human figure or other creature.

Type III is denned as the double-headed puma (Fig. 68).It occurs only with the full-face and represents the bodiesof two pumas joined at the inception of the arch of theback. Only the front paws and the heads are represented.It occurs alone and with a human figure on the side. Thereare two diminutive examples of this type without thehuman figure.

Type IV represents the rearing puma in profile (Fig. 69).It occurs singly and in various forms of composition ofwhich there is only one example for each variation. Thevariations are: (1) two facing pumas with a profile humanfigure to the side of each puma, (2) a puma with centralhuman face or figure, and (3) a pair of facing pumas aboveand below a central circular face-design.

Type V is a miscellaneous category for the slabs fromChacos and Huambos and represents the full-face puma inthe attitude of sitting on a tree limb.

Under the foregoing type classification canbe included all 47 slabs or fragments from thenorth highlands of Peru. Six out of the sevenpuma slabs from Aija form the basis for whatmay be called the Aija style of puma slabs.

Fig. 68. Type Three Puma Slab.

These are all full-face or Type II pumas. Thestyle has the following characteristics:1616Tello, 1923, Figs. 33 and 34.


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74 SOCIETY FOR AMERICAN ARCHAEOLOGYmemoirs, 4

Composition: when more than one puma is represented thepumas face center with the central figure between them.

Type of carving: usually moderately deep relief with theeyes outstanding.

Detail:Eyes: usually outlined.Ears: rounded or rounded triangle.Teeth: either with projecting or prominent canines.Tail position: varies between curled back, curled down,

and volute.Claws: delineated by incised lines or grooves separating

the digits.In Huaraz, in a comparable group of TypeII slabs, all these features occur individuallyor in combinations of two or three; but the

complex is never complete enough to allow forthe classification of any of the slabs as Aijastyle.

Fig. 69. Type Four Puma Slab.

In defining a Huaraz style it is convenientto describe certain features and the range ofvariations which contrasts with the slabs of theAija style. The Huaraz style includes the pumaTypes I, II, and III. The composition is quitevaried, e.g., the human figure may be

at eitherside of the pumas, and the pumas may face ineither direction or back to back. The type ofcarving varies from very deep to shallow relief.

The eyes of the pumas are usually not outlined. The ears on the Type II pumas are usually squared and outlined. The teeth vary fromprojecting to prominent canines, to a doublerow of teeth to no teeth at all. The tail is curledin all but the down position as in the Aija slabs,but in addition two types of volutes in downward winding are to be remarked. Most distinctive of Huaraz pumas are the volute designsthat delineate the claws and the demarcation ofthe wrist by a groove or incised line.

Two sub-styles can now be described. Sub

Style 1 includes all of the Type II pumas andsome of Type I. The predominant compositionis with the pumas facing a central figure. Therelief is deep to moderately deep. The Type Ipumas are distinguished by ears which flapforward. Teeth are represented in both typeswith projecting or prominent canines. All tailpositions are represented. The chin is rounded.

Sub-Style 2 consists of only pumas of TypeI. All varieties of composition occur exceptthat in which the pumas face a central figure.The carving is shallow to moderately deep relief, eyes are not outstanding, and clear-cutdelineation of features is characteristic. Earsare usually flapped backward or pointed back.The tail is consistently curled up in a backvolute fashion. The chin is squared and angular.

The single profile puma slab from Aija belongs in Sub-Style 2. An angularly outlinedvariant of Sub-Style 1 is reported from thegeneral Callejon de Huaylas area and mayrepresent a regional variation. The two slabsillustrated by Tello17 indicate a regional variation in which jagged teeth and serrated appendages issue from the pumas' mouths orsnouts. The occurrence in one of a central face

with serrated appendages is also atypical.The Type III puma has already been mentioned in describing the general Huaraz style.The diminutive variety is illustrated byBennett.18

Type IV slabs occur with one exception tothe north of the Callejon de Huaylas.19 Thecomposition varies considerably, but the detailof the puma for the most part is quite similarto Sub-Styles 1 and 2.As more examples of Type IV are found itmaybe possible to isolate regional styles such as wasdone with Types I and II; for the present theseslabs can only be considered from the standpoint of their affiliation with the better knowntypes of the Callejon de Huaylas.A summary of the puma slabs leads to thefollowing observations:

1. Type II puma slabs occur as the predominant typein Aija where they form a distinct style.

2. Types I, II, III, and IV are represented in Huaraz.The most frequent types are I and II, which form the basisfor a stylistic subdivision; Type III conforms to the general

Huaraz style.

17Tello, 1923, Figs. 35 and 37.18Bennett, 1944a, Fig. 33, b.19For examples from Cabana, see Wiener, 1880, p. 702;from Santiago de Chuco, see Horkheimer, 1944, Fig. 36;from Huamachuco, see McCown, 1945, PL 17: 1.


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76 SOCIETY FOR AMERICAN ARCHAEOLOGY [memoirs, 4reduced to a series of heads or claws, and the volute -as adesign element are more typical.

Ceramics and ArchitecturePottery and architecture are the main diagnostics of the chronological sequence of north

highland cultures as established by Bennettand correlated with McCown's data fromHuamachuco:

North Highlands HuamachucoMiscellaneous Late Late HuamachucoBlack-White-Red

Wilkawafn-TiahuanacoKatak Middle Huamachuco

RecuayHuaraz White-on-RedChavin

The identification of stone sculpture atChavin de Huantar with the architecture andpottery design is well established. For theWhite-on-Red period such limited material isavailable for comparison that no relationshipto the stone sculpture can be determined as yet.The evidence for the association of Aija andHuaraz stone sculpture with Recuay potteryhas been emphasized by Tello,20 but his published illustrations are not convincing. Untilmore information on the design of Recuaypottery is available, we shall have to be contentwith pointing out a few significant illustratrations (Fig. 70).The best example of the affiliation of Recuaypottery with the statues is the anthropomorphicvase illustrated by Schmidt21 in which a seatedwarrior is shown with a club on the right shoulder and a shield in the left hand. The shield isdecorated with the double-headed serpentdesign. While this vase links some of thestatues of the Warrior type in Aija to Recuaypottery, there is no corresponding illustrationof any Huaraz statue.The best illustration of Recuay potteryaffiliations with the puma slabs is the designfrom a Copa vase published by Tello.22 Theclosest resemblance is to the Huaraz style. Thecomposition is strikingly similar, but the detailis unique in several respects.Most Recuay pottery emphasizes the profilepuma of the Types I and IV. The representation of cephalic appendages is frequent and indicates a close connection between the slabs

20Tello, 1930, p. 289.21Schmidt, 1929, p. 237.22Tello, 1923, Fig. 32.

from Cajamarquilla (Huaraz region) andCabana with Recuay designs (Fig. 71).Finally, a vase representing an apparentlysubterranean house type illustrated by Wiener23shows a lintel decorated with the Type I profile

pumas.Tello mentions a number of Recuay vaseswhich portray shrines and terraces whosewalls are decorated . . .with sculptured humanheads and which seem to be imbedded in them. 24Unfortunately, none of these vases has been il

lustrated.Summing up the evidence for the Recuay

period, we find the ceramics are definitely associated with Aija and Aija-like statues (thoughnot all of them), with puma slabs of Types I,II, and IV (and possibly III; see Fig. 72), andprobably with head tenons on the strength ofTello's statement.

The single relationship between the stonesculpture and the Katak period is a paintedlintel described by Bennett25 in a structure inthe region around Katak. The structure isdescribed as Central Subterranean Chamber

with Connecting Side Chambers. The designon the lintel corresponds very closely to theType III double-headed puma.The occurrence of puma heads in the Wilkawain-Tiahuanaco period in association withabove-ground three-storied temples has alsobeen established by Bennett.26 Unfortunately, aphotograph of the tenon head in situ at Caraswas not clear enough for any observation otherthan the fact that it was a puma head.

Fig. 71. Cabana Statue and Recuay Ceramic Designs.

23Wiener, 1880.24Tello, 1930, p. 289.25Bennett, 1944a, pp. 64^5. Assignment of this structureto the Katak period is based on personal communication

with Bennett.26Bennett, 1944a, p. 17. It is noted that the three-storied

temple at Wilkawafn doubtless had such puma head tenonsalso.


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Further associations of the stone sculpturewith this or any of the late periods do not occuron the basis of present knowledge.Having established a connection between

some of the stone sculpture with the Recuay,Katak, and Wilkawain-Tiahuanaco periods,what remains to be said about the far morenumerous residue of unassociated stone sculpture, particularly the statues? The definiteassignment of all of the statues, puma slabs,etc., cannot be made until more thorough investigations in the north highlands are carriedout. However, as a result of studying the illustrations of the 300 odd specimens of stonesculpture, I believe it possible to establishthree distinct phases of statue carving whichrepresent a developmental sequence and which

may be correlated in a general way with thechronological sequence for the north highlands.Statues in which the details are representedby continuous curvilinear lines represent Phase1.The lips consist of incised bands which wind,ribbon-like, around the cheeks and form theears; the eyes in similar fashion are defined by aloop which continues up over the forehead andinto the headdress. Extremities which at first'glance suggest arms and legs turn out to be intricate serpentiform designs which trail off intothe less distinct portions of the statue. The

most frequently observed convention represents the two arms emerging from either sideas serpents. The feet also are incised so as torepresent or suggest animal and bird heads.Phase 2 consists of statues in which the headdresses are delineated in relief and in which theboundaries of the details are clearly demarcatedas anatomical entities. The digits are not alwaysfingers, but one hand is usually so representedand the other is claw-like. The feet are similarlyconceived. Incision is occasionally used in someof the statues to represent applied symbolicdesigns.Phase 3 attains to no greater mastery ofcarving in the round, but the relief techniqueassumes a more linear aspect which exploits theplay of light and shade to emphasize the design.Incision is not used, and the sculpture is characterized by a flamboyant display of design ele

ments for their own sake.The three phases are represented in the

statuary of both Aija and Huaraz, althoughexamples of Phase 2 are by far the most nu

merous. Unfortunately, good photographs ofPhase 1 statues are not available. Because ofthe type of incision, the design detail can only

be definitively established by tracings. Phase 3is illustrated by the elaborately decoratedstatue of the Warrior type at Aija and bystatues of Group A in Huaraz in which theangularization of the pose focuses attention onthe play of contrasting diagonal and horizontalplanes.

Puma slabs represent two phases of carving.The Aija style and Huaraz Sub-Style 1 areanalogous to Phase 2. Huaraz Sub-Style 2 andthe Type IV puma slabs suggest a subsequentdevelopment in which the conservative position

u u

^^ Fig. 72. Puma Types on Recuay Ceramics.was abandoned, and there was a free manipulation of the compositional elements to achievenew symmetrically pleasing patterns. Thepuma itself became

conventionalized withvolute-type tail, angularly pointed ears, andangular jaw.The development in the carving of headtenons was probably in the direction of thediminishing importance of the head as a significant adornment to the masonry.

Sequence CorrelationThe earliest developments in the north highland stone sculpture are characterized by intricate curvilinear designs executed with much

greater skill than was lavished on the anthropomorphic block on which they were incised. Thisaccounts for the deceptively crude appearance


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78 SOCIETY FOR AMERICAN ARCHAEOLOGY [memoirs, 4of some of the statues. The aesthetic conceptionis not unlike that which underlies Cupisniqueart. The principle of combining a realisticstatue with curvilinear designs also suggeststhe bishop of Moxeque. For these reasons Ishould assign statues of Phase 1 to a preRecuay period, possibly contemporaneous withSalinar on the north coast in which curvilineardesigns survive without the Chavinoid felinedetails. If more were known of White-on-Redat Huaraz, it should be possible to relate Phase1 to it.

This phase was followed by local developments in carving in the round in which thesymbolic elements were reduced and supplantedby more realistic symbols such as the shieldand trophy head and the genitals. This was alsothe period of local styles of puma slab carvingin which the symbol of the pumas flanking acentral figure was developed.Most of the statues inAija and Huaraz represent this phase, and the full-face puma slabswith the profile pumas of Sub-Style 1 inHuarazare also of this period. I should associate Phase2 with the beginning of the Recuay period,contemporaneous with Gallinazo on the northcoast.

Finally, Phase 3 is represented by the profilepumas in the north and the Callejon de Huaylaswith their definite associations with theRecuay ceramics. The anthropomorphic vase,previously cited, shows the warrior with a shielddesign of the double-headed serpent with appendages, a design which is most closelymatched in the elaborate statue of the Warriortype in Aija which represents Phase 3. Therather wide distribution of Recuay ceramicsboth to the coast and to the north indicatesthat the Recuay period was one of considerablecontact between the regions of the north highlands. Such contact may well have provided thestimulus for the third phase of stone sculpturewhich is characterized by the abandonment ofthe significant conventions of representationand a purely aesthetic interest in the juxtaposition and repetitious patterning of design ele

ments, in contrasting planes, and in the decisiveness of bold linear outlines.Subsequent developments in stone sculptureseem to have been confined to dressed stones

and head tenons.The relationship of Chavin de Huantar stone

sculpture to the north highland tradition shouldbe noted in passing. The biomorphization ofanatomical details, curvilinearity, and the

dominant symmetrical composition are allcharacteristics of Chavin stone carving as wellas the technique of fine line incision. Theseare also common to Phase 1. None of thestatues of Phase 1, however, revealed anyspecifically Chavinoid motive. The closestparallels to the north highland puma slab atChavin de Huantar is the figure No. 17 inBennett's Chavin Stone Carving. This slab,

however, is regarded as non-Chavin in style.The occurrence of human figures, which mightalso be cited as indicative of relationships tothe north highland tradition, is also nonChavin. Whether this non-Chavin sculptureis post- or pre-Chavin, or simply another contemporaneous style, is a critical point to bedetermined before a relationship with othernorth highland stone sculpture can be established. CONCLUSIONS

The major conclusions reached as a result ofthis survey are:

1. The north highland tradition of stone sculpture consists of (a) statues of human figures in sitting position withthe legs drawn up, (b) the puma slab, and (c) heads and headtenons.

2. Huaraz was either the center of aesthetic developments in stone sculpture or, more probably, was therecipient of influences from other areas as far north asCabana, as far east as Huantar, and as far west as Aija.These are reflected typically in the statues, puma slabs, andless frequently, heads and head tenons.

3. Aija represents a smaller center of stone sculpture inwhich a local style was developed in statues, puma slabs,and heads.

4. Huantar represents, so far as is known, another smalland relatively isolated center of stone sculpture, althoughonly statues have so far been reported.

5. Santiago de Chuco and Cabana represent what areprobably northern variants of the general north highlandtradition, and here the evidence is based upon the pumaslabs principally.

6. The extent of north highland stone sculpture is shownby the reports of isolated finds as far north as Catan, asfar east as Tiny ash, with nothing so far reported fromareas immediately to the south of Huaraz.

7. The non-Chavin sculpture at Chavin de Huantar isthe only material at that site which relates to the northhighland tradition.

8. Specific association of all the varieties of stone sculpture can be posited for the Recuay period, with heads and

head tenons associated with the succeeding Katak andWilkawain-Tiahuanaco periods.

9. An aesthetic analysis of the statuary into threephases,

the last two correlated with the early and lateRecuay period, makes probable the assignment of somestatues in Phase 1 to a pre-Recuay phase, possibly Whiteon-Red.


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schaedel] A REAPPRAISAL OF PERUVIAN ARCHAEOLOGY7910. No Recuay influence is noted in the region east of

Huaraz at Chacas, Huantar, or Chavin de Huantar. Thestone sculpture in this region, except for Classic Chavin, isnot linked with any archeological sequence.

There are many other points that should hetouched upon, most of them in the category ofhypothetical conjectures. The relationship ofthe north highland sculpture to central coast

textiles, to Tiahuanaco, Pucara, and Huari(Ayacucho), not to mention Manabi and San

Agustin, are all subjects worthy of discussion.The gaps in our information on sites to the eastand north of the Callejon de Huaylas need tobe filled before we will have an adequate basisupon which to generalize.

New Haven, Connecticut

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Schaedel - litos Recuay