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References
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Who lived during the Middle Horizon? Since the ancient human image may represent a single individual or possible social group, the term "Agent" allows ambiguity of exact identification. The first three numbers of an agent code represent the primary reference of a human image. The appended dash number represents an artifact example of the agent. Though rare, artifact copies are then numbered. A black and white composite drawing of the head reflects the Robles Moqo style face-neck jars. If provenience is possible, a map displays the possible distribution and activity area of each agent. Go to ATTRIBUTES reference page for descriptive design attributes to aid comparison of agent representations. AGENTS: 100 105 110 115 120 125 130 135 140 101 106 111 116 121 126 131 136 102 107 112 117 122 127 132 137 103 108 113 118 123 128 133 138 104 109 114 119 124 129 134 139 |
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AGENT: 100 Probably the most common image found due to replication on Pacheco face-neck jars and numerous examples on artifacts otherthan ceramics. The extensive distribution of Agent 100 indicates a Huari person with high social status and acceptance. There are two variations of 100-1 on the Ica tapestry textile discovered by Max Uhle at Ocucaje Site E. (see Hearst 4-4556) The relationship suggests two generations of Agent 100 and Agent 112 combining facial identification marks. This remarkable textile has great potential for documenting an extensive history of social interaction between highland Huari and south coast populations. The 1997 Conchopata excavations produced a version, Agent 100-7, with bow and arrows while kneeling on a curved up pad. The pad is suggested to be a reed boat. The relatively small size of the bow suggests that the weapon may be more symbolic of hunting rather than warfare even to the possibility that Agent 100 is on a religious quest and hunting in a spirit world. Otherwise, Ochatoma and Cabrera (2002) suggest a warrior theme as a possibility. MAP |
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REFERENCES: 100-1 Hearst Museum 2002:4-4556 ; Uhle 1913:Fig.4 ; Menzel 1977:Fig.130 ; Knobloch 1989:Fig.15 ; Kaulicke 1998:262 100-2 (copy 1) Tello 1942:Lam.XXIII right ; Spielvogel 1955:Plate XCIV, photo 2 ; Ubbelohde-Doering 1967:201 100-2 (copy 2) Von Hagen 1964:128 100-2 (copy 3) Lumbreras 1969:243 100-2 (copy 4) Ubbelohde-Doering 1927:Abb.9 ; Spielvogel 1955:Plate XCIV, photo 1 100-2 (copy 5) Morell 2002:125 100-3 Lapiner 1976:572 100-4 Anders 1986:Fig.7.56a 100-5 Schaedel 1957:Fig.E 100-6 Ubbelohde-Doering 1952:Fig.109 100-7 Knobloch 2000c ; Isbell 2000:Fig.26, left ; Ochatoma and Cabrera 2002:Fig.8.5A-C 100-8 Bennett 1946:Fig.10F 100-9 Anton 1962:113 ; Spielvogel 1955:Plate XCIII, photo 1 ; Kubler 1975:184 ; Anton 1972:Fig.205 ; Anton and Dockstader 1968:Fig.205 100-10 Wagner 1981:Fig.A10B 100-11 Larco Hoyle 1966:Fig.116 ; Kaufman Doig 1976:234 ; Stierlin 1984:135 ; LaFarge 1981:93 100-12 Bennett 1953:Fig.21K 100-13 Lavalle 1989:cover ; Reid 1986:Plate 33 100-14 Isbell and Cook 2002:Fig.9.13 Knobloch 1999 100-15 Watanabe 2001:Fig.4 |
| 1. Posture Elements | 2. Accessory Elements |
|
1.1.01 Divided into 2 design fields
See also: 103 1.1.03 Design elements that fill a design field 1.1.03.01 stepped frets |
2.1.02 Cap with headbands (probably represent
strips of textile wrapped around head) 2.1.02.17 band of diamond pattern See also: 107 2.1.10 Four-cornered cap with alternating stepped pattern 2.1.10.01 headband of diamond design elements 2.2.02 Tunic: tie-dyed into contrasting circles See also: 104 129 2.2.03 Tunic: diagonally split pattern of face See also: 101 2.5.02 Bow and arrows See also: 105 2.5.07 Ceramic vessel |
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AGENT: 101 This agent appears in high status depictions though with limited spatial distribution. He is most common in the Ayacucho basin area. My analysis of his depiction on Conchopata urns suggested that he was a powerful leader (Knobloch 2000b:Fig.10, 11) utilizing shamanistic tools and hallucinogens to acquire a high status role as priest. His confrontational stance on the Ica textile in facing Agent 100, would suggest a power struggle that coalesced into a possible Huari federation of ethnically distinct groups. (see Hearst 4-4556) On 101-15, he is depicted three times on a jar that may indicate that this agent represents several individuals with the same socio-ethnic identity. This vessel is very similar to 101-6 in size, shape pigmentation, and design structure as well as the obvious depiction of three individuals with molded heads. MAP |
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REFERENCES:
101-1 Hearst Museum 2002:4-4556 ; Uhle 1913:Fig.4 ; Menzel 1977:Fig.130 ; Knobloch 1989:Fig.15 ; Kaulicke 1998:262 101-2 Bennett 1953:Pl.8A,B 101-3 Bennett 1953:Fig.15D ; Spielvogel 1955:Plate XLIII, photo 1 ; Spielvogel 1955:Plate XLIII, photo 2 101-4 Knobloch 2000c ; Knobloch 2000b:Fig.10b 101-5 Knobloch 1999/2000 101-6 Knobloch 2000c 101-7 Isbell and Cook 1987:30-31 ; Knobloch 2000b:Fig.10a 101-8 O'Neale and Kroeber 1930:Pl.14b,c ; Spielvogel 1955:Plate XLIII, photo 3 101-9 Benavides 1983:Lam.XXIc 101-10 Bankes 1977:171 101-11 Anton and Dockstader 1968:Fig.206 101-12 Boston Museum of Fine Arts 1961:Fig.286 101-13 Lumbreras 1960:Lam.8E 101-14 Lavalle 1991:171 101-14 Spielvogel 1955:Plate CII, photo 4 101-15 Milwaukee Public Museum 2003 |
| 1. Posture Elements | 2. Accessory Elements |
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1.4.02 Tearband
1.4.02.01 X filler element |
2.1.11 4-cornered cap with split face and stepped fret with hook
2.2.03 Tunic: diagonally split pattern of face and stepped fret with hook See also: 100 2.2.04 Tunic: horizontally split pattern of feline with contrasting symmetrical colors 2.4.01 Earspool See also: 102 103 107 108 112 117 123 124 129 2.5.01 Axe See also: 105 2.5.03 Shield See also: 104 110 112 2.5.08 Mirror |
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AGENT: 102 This agent is one the earliest Huari depictions found in the 1977 Huari excavation dating back to Middle Horizon Epoch 1. Acknowledged by Huari, Conchopata and Pachacamac artisans, this agent is typically associated with stylized images of profile attendants, front face deity and abstract geometrical motifs. I argue that this individual participated in the development of the new religious cult in its early proselytizing phase as it spread between these distant areas. Even though evidence suggests many generations of social interaction between central highland Huarpa and south coast Nasca populations, this individual does not appear on the south coast (yet). Therefore, it's sudden appearance may also indicate a subjugation of the relationship the highland populations had with the south coast thereby eliminating south coast economic or political benefits in the early development of Huari. (see Hearst 4-4556) MAP not yet available |
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REFERENCES:
102-1 Hearst Museum 2002:4-4556 ; Uhle 1913:Fig.4 ; Menzel 1977:Fig.130 ; Knobloch 1989:Fig.15 ; Kaulicke 1998:262 102-2 Knobloch 1999/2000 102-3 Knobloch 1977 ; Knobloch 1983:Plate 59b, a, c 102-4 González Carré 1977:p.5 ; Isbell and Cook 1987:32, upper left ; Isbell 2000:Fig.13 102-5 Knobloch 1985 102-5 Knobloch 1985 102-6 Knobloch 1979 102-7 Bennett 1953:Fig.21Q 102-8 Cologne 1959:Fig.71 102-9 Spielvogel 1955:Pl.101, photo 1 102-10 Isbell and Cook 2002:Fig.9.18 102-11 Isbell and Cook 2002:Fig.9.19 102-12 Knobloch 1985:VA49531 ; Knobloch 1989:Fig.16 102-13 Knobloch 1985:VA49539 102-14 Knobloch 1985:VA49541 102-15 Knobloch 1985:VA49542 102-16 Knobloch 1985:VA49543 102-17 Knobloch 1985:VA49546 102-18 Knobloch 1985:VA49547 102-19 Knobloch 1985:VA49548 102-20 Knobloch 1985:VA49552 102-21 Knobloch 1985:VA49553 102-22 Culturas Pre-Incas, Figure 3 |
| 1. Posture Elements | 2. Accessory Elements |
|
1.4.03 Pendent rectangle
1.5.01 Band on ridge of nose 1.9.01 Sideburns |
2.1.02 Cap with headbands (probably represent
strips of textile wrapped around head) 2.1.02.03 chevron band 2.4.01 Earspool See also: 101 103 107 108 112 117 123 124 129 2.5.09 Panpipe |
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AGENT: 103 This agent has central and south central coast proveniences, usually in association with another agent. His appearance as a prisoner on a Huari vessel suggests that he was part enemy or dissident to Huari politics. He also occurs on the large Conchopata urn with several other agents (108, 109,123,124,125) who are depicted with their tongues hanging out. Perhaps these represent victims of strangulation? Or the depiction of tongues may indicate different language dialects? His involvement in Huari political history is also documented on the Ica tapestry showing his allegiance to Agent 100 along with Agents 102, 103 and 106. (see Hearst 4-4556) MAP not yet available |
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REFERENCES:
103-1 Hearst Museum 2002:4-4556 ; Uhle 1913:Fig.4 ; Menzel 1977:Fig.130 ; Knobloch 1989:Fig.15 ; Kaulicke 1998:262 103-2 Menzel 1964:Fig.46 103-3 Anton and Dockstader 1979:Fig.211 103-4 Knobloch 1985:VA49191 103-5 Knobloch 1988:4-7700 103-6 Knobloch 1999/2000 103-7 Kaulicke and Isbell 2001:cover Knobloch 1999 103-8 Castillo 2000:Fig.14, second row, right; Fig.15 bottom, left |
| 1. Posture Elements | 2. Accessory Elements |
|
1.1.01 Divided into 2 design fields
See also: 100 |
2.1.02 Cap with headbands (probably represent
strips of textile wrapped around head) 2.1.02.04 platelet band 2.4.01 Earspool See also: 101 102 107 108 112 117 123 124 129 2.5.05 Rope around prisoner's wrists See also: 104 106 |
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AGENT: 104 This agent's distinctive headdress may have evolved from the rayed face common in Nasca iconography. Though common on central and south coast artifacts, his absence on Huari artifacts suggests a well documented non-Huari ethnic group. He appears as a victim of the wrath of the Huari Front Face Deity (104-5) and on a number of examples as a warrior. His absence in the Huari area suggests that this Agent was in direct conflict with Huari politico-religious intrusion in to the coastal areas rather than as a counter-offensive antagonist attacking the Huari in the Ayacucho area. MAP |
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REFERENCES:
104-1 (copy 1) Anton 1962:Fig.107 104-1 (copy 2) Flagel 1929:Planche I ; Kelemen 1946:Pl.164a 104-1 (copy 3) Zuidema 1972:Fig.2,3 ; Salazar Bondy 1964:32 (back only) ; Lumbreras 1990:204 104-1 (copy 4) Larco Hoyle 1966:Fig.106 104-2 Disselhoff 1967:Tafel 35 104-3 Knobloch 1985:VA19088b 104-4 Boston Museum of Fine Arts 1961:Fig.286 104-5 Lapiner 1976:Fig.580,581 104-6 Textile Museum 1965:Fig.24 104-7 Kauffmann-Doig 1998:102 (Nasca 6) 104-8 Knobloch 1985 ; Schmidt 1929:Abb.271 ; Willey 1949:Pl.32b 104-9 Knobloch 1985 104-10 Menzel 1964:Fig.47 |
| 1. Posture Elements | 2. Accessory Elements |
|
1.3.04 Outlined
1.3.04.03 segmented band with hook on cheek |
2.1.03 Cap with rayed sunface (probably an embossed metal, stick pin)
2.2.02 Tunic: tie-dyed into contrasting circles See also: 100 129 2.5.03 Shield See also: 101 110 112 2.5.05 Rope around prisoner's wrists See also: 103 106 2.5.10 Whistle See also: 107 |
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AGENT: 105 Another coastal based Agent with possible ancestry among the Nasca where there are pottery images of warriors holding trophy heads with similar headdresses. In association with Agent 104 and 107, this agent appears to be more commanding or wielding power over 104 and 107 (see Zuidema 1972 for analysis). With axe, bow and arrow, he appears to be a powerful warrior to the point of being given supernatural traits in example 105-3 of split eyes and gaping animal mouth. He is also absent in Huari area artifacts and probably did battle closer to home on the south coast. MAP |
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REFERENCES:
105-1 Spielvogel 1955:Plate XCIII, photo 3 105-2 (copy 1) Anton 1962:Fig.107 105-2 (copy 2) Flagel 1929:Planche I ; Kelemen 1946:Pl.164a 105-2 (copy 3) Zuidema 1972:Fig.2,3 ; Salazar Bondy 1964:32 (back only) ; Lumbreras 1990:204 105-2 (copy 4) Larco Hoyle 1966:Fig.106 105-3 Lavalle 1984:145 ; Lumbreras 1974:Fig.166 ; Lumbreras 1990:218 105-4 Ubbelohde-Doering 1927:Abb.10,11 ; Spielvogel 1955:Plate XCVIII, photo 3 105-5 Tello 1942:Lam.XVI, lower right ; Spielvogel 1955:Plate XCVIII, photo 2 |
| 1. Posture Elements | 2. Accessory Elements |
|
1.3.01 Pupils: divided, cross-eyed (Rare)
See also: 109 rare 1.3.04 Outlined 1.3.04.01 band See also: 107 1.4.04 Stepped fret with hook at corners of mouth |
2.1.04 Cap with blunt horns
2.2.05 Tunic: diagonlly split pattern of faces 2.2.06 Tunic: feline head filler elements 2.4.02 Noseplug See also: 106 129 2.4.06 Necklace See also: 109 2.5.01 Axe See also: 101 2.5.02 Bow and arrows See also: 100 2.5.04 Trophy Head |
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AGENT: 106 Wearing animal headdresses is usually reserved for those participating in spiritual guidance or shamanistic ritual. Thus, the occurrence of this Agent in any association with other agents may strengthen an argument that associated images are of individuals rather than groups. The depiction of this individual on the Ica textile within a row of individuals may document a social status equivalent to the others depicted in that row. (see Hearst 4-4556) Though there are Moche images of individuals with "fox" headdresses, further evidence is needed to find any direct ties between such occurrences. MAP not yet available |
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REFERENCES:
106-1 Hearst Museum 2002:4-4556 ; Uhle 1913:Fig.4 ; Menzel 1977:Fig.130 ; Knobloch 1989:Fig.15 ; Kaulicke 1998:262 106-2 Andre Emerich Gallery 1966:Fig.6 106-3 Kroeber 1998:Fig.173 106-4 Lavalle 1984:159 106-5 The Field Museum #2003:1893.6.2357a The Field Museum #2003:1893.6.2357b 106-6 Knobloch 1988:4-7700 |
| 1. Posture Elements | 2. Accessory Elements |
|
2.1.05 Animal head and pelt (probably feline)
2.2.01 Naked (as in the case of a prisoner) 2.4.02 Noseplug See also: 105 129 2.5.05 Rope around prisoner's wrists See also: 103 104 |
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AGENT: 107 Analysis thus far places this Agent into the south coast area. MAP not yet available |
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REFERENCES:
107-1 (copy 1) Anton 1962:Fig.107 107-1 (copy 2) Flagel 1929:Planche I ; Kelemen 1946:Pl.164a 107-1 (copy 3) Zuidema 1972:Fig.2,3 ; Salazar Bondy 1964:32 (back only) ; Lumbreras 1990:204 107-1 (copy 4) Larco Hoyle 1966:Fig.106 107-2 O'Neale and Kroeber 1930:Pl.14a 107-3 Anton 1962:Fig.141 107-4 Watanabe 2001:Fig.8 |
| 1. Posture Elements | 2. Accessory Elements |
|
1.3.04 Outlined
1.3.04.01 band See also: 105 1.4.05 Tipped points at corners of mouth 2.1.02 Cap with headbands (probably represent strips of textile wrapped around head) 2.1.02.17 band of diamond pattern See also: 107 |
2.1.02 Cap with headbands (probably represent
strips of textile wrapped around head) 2.1.02.17 band of diamond pattern See also: 100 2.4.01 Earspool See also: 101 102 103 108 112 117 123 124 129 2.5.06 Staff 2.5.10 Whistle See also: 104 |
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AGENT: 108 Analysis suggests a Huari origin for this agent. On the textile illustrated by Lavalle (1989: cover) he occurs with Agent 100 (whose head image sits atop the stylized image of the hallucinogenic plant Anadenanthera colubrina. His head sits atop another stylized image, possibly another hallucinogenic plant.) On the Ica tapestry he is positioned in opposition with Agent 100, (see Hearst 4-4556) MAP not yet available |
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REFERENCES:
108-1 Hearst Museum 2002:4-4556 ; Uhle 1913:Fig.4 ; Menzel 1977:Fig.130 ; Knobloch 1989:Fig.15 ; Kaulicke 1998:262 108-2 Knobloch 1988:4-7700 108-3 Kaulicke and Isbell 2001:cover Knobloch 1999 108-4 Lavalle 1989:cover ; Reid 1986:Plate 33 |
| 1. Posture Elements | 2. Accessory Elements |
|
1.1.01 Divided into 2 design fields
1.1.01.01 by horizontal dentate line |
2.1.02 Cap with headbands (probably represent
strips of textile wrapped around head) 2.1.02.01 plain band 2.4.01 Earspool See also: 101 102 103 107 112 117 123 124 129 |
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AGENT: 109 Distinctively different from any other Agent, the broad distribution from Huari to Ancón suggests Moche associations. A similar example of this agent occurs on a later Moche blackware effigy jar (Moche, Site A) housed at the Hearst Museum. The consistency of design depiction occurring in such diverse locales suggests the role of an itinerate shaman or "curandero" as suggested by the Niño Korin findings of Wassén (1972). MAP not yet available |
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REFERENCES:
109-1 Hearst 2002:4-6033 Menzel 1977:Fig.107 Bruhns 1994:Fig.14.12 109-2 Emmerich 1971:Fig.53 109-3 Cook 1985:Fig.24a 109-4 Kaulicke and Isbell 2001:cover Knobloch 1999 109-5 (Moche) Hearst 2002:4-2564b Provenience: Moche, Site A |
| 1. Posture Elements | 2. Accessory Elements |
|
1.3.01 Pupils: divided, cross-eyed (Rare)
See also: 105 (rare) 1.8.01 Pierced (multiple times; not just for an earspool) |
2.1.01 Plain cap
See also: 115 2.4.03 Nosering 2.4.04 Labret (in lower lip/chin area) 2.4.05 Earring loops (possibly stretched ear lobes) 2.4.06 Necklace See also: 105 |
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AGENT: 110 Holding up a shield-like plaque with the line drawing of the Staff Deity and a possible whistle or horn in the other hand, this agent may have carried out a harbinger role. The tunic is rather simple with designs similar to Tiwanaku patterns (see Knobloch 2000a for analysis). This vessel (110-1) was recovered from exposed fill within a walled structure protruding from the sides of the mesa just below the Capilla Pata structure at Huari. MAP not yet available |
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REFERENCES:
110-1 Knobloch 1974 ; Knobloch 2000a:Fig.11b 110-2 Wagner 198/:Fig.A11A 110-3 Anton 1962:Fig.109 Disselhoff 1972:Fig.363 |
| 1. Posture Elements | 2. Accessory Elements |
|
1.3.04 Outlined
1.3.04.04 triangular points with hook on cheek |
2.1.07 Cap with brim
See also: 127 2.2.07 Tunic: diagonal split pattern of stepped frets 2.5.03 Shield See also: 101 104 112 |
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AGENT: 111 Found only at Azangaro. MAP |
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REFERENCES:
111-1 Anders 1986:Fig.7.53a |
| 1. Posture Elements | 2. Accessory Elements |
|
2.1.02 Cap with headbands (probably represent
strips of textile wrapped around head) 2.1.02.06 zigzag and filler dot band See also: 117 118 |
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AGENT: 112 Another warrior agent found on Conchopata pottery with associated trophy head, axe and shield. His tunic appears to be like a feline pelt pattern. The Ica textile example may also represent this agent and is associated on the half with Agent 100 in opposition to Agent 101. The Conchopata example may also be a vessel with both Agent 101-4 and this agent in opposition stances. (see Hearst 4-4556) MAP not yet available |
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REFERENCES:
112-1 Hearst Museum 2002:4-4556 ; Uhle 1913:Fig.4 ; Menzel 1977:Fig.130 ; Knobloch 1989:Fig.15 ; Kaulicke 1998:262 112-2 Ochatoma and Cabrera 2002:Fig.8.11B |
| 1. Posture Elements | 2. Accessory Elements |
| 1.4.06 Chevron filler elements |
2.1.02 Cap with headbands (probably represent
strips of textile wrapped around head) 2.1.02.07 double points (possibly representing horns) 2.2.08 Tunic: animal pelt pattern (e.g., feline pelt) 2.5.03 Shield See also: 101 104 110 2.4.01 Earspool See also: 101 102 103 107 108 117 123 124 129 |
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AGENT: 113 Found only at Azangaro. MAP |
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REFERENCES:
113-1 Anders 1986:Fig.7.54c |
| 1. Posture Elements | 2. Accessory Elements |
|
1.4.01 Tearlines (horizontal lines drawn from lower eyelid onto cheek)
See also: 114 |
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AGENT: 114 Found only at Azangaro. MAP |
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REFERENCES:
114-1 Anders 1986:Fig.7.53c |
| 1. Posture Elements | 2. Accessory Elements |
|
1.4.01 Tearlines (horizontal lines drawn from lower eyelid onto cheek)
See also: 113 |
2.1.02 Cap with headbands (probably represent
strips of textile wrapped around head) 2.1.02.08 cross-hatching band |
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AGENT: 115 Found only at Azangaro. MAP |
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REFERENCES:
115-1 Anders 1986:Fig.7.57a |
| 1. Posture Elements | 2. Accessory Elements |
| 1.7.02 Bands of interlocking fret design along jaw line |
2.1.01 Plain cap
See also: 109 |
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AGENT: 116 Found only at Azangaro. MAP |
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REFERENCES:
116-1 Anders 1986:Fig.7.53 (not lettered) |
| 1. Posture Elements | 2. Accessory Elements |
| 1.4.07 Pendent zigzag on cheek |
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AGENT: 117 The 117-1 artifact occurs in association with 103 on a Pachacamac vessel. The 117-2 example on a Huari vessel with 2 traditional Moche themes - a feline attacking from the rear and the sleeping guard - may indicate Moche origins for this individual. With 117-3 and 103 on a Huari vessel found at San José de Moro, these individuals may further support a represention of interaction between Huari and Moche populations. Elizabeth Benson (1974) presented a thorough analysis of the theme of a feline in control of a man. The most similar depictions to this Huari example appear to be those from Moche (Benson 1974:Figures 12, 13-14, 19). Within the man-feline theme, Benson noted two basic poses: 1) prayer; and, 2) prisoner with the possibility that either situation may have led to human sacrifice. Other interpretations were initiation rites and coca rituals (IBID: 27-28) with the two later examples that indicate an association with chicha and hallucinogenic snuff (IBID:Figures 23, 24). Unlike Benson's examples, the Huari example illustrated here has the unusual addition of a head in the lap of the sleeping or subdued individual. The depiction seems to depict that the head is a wide awake individual with a fearful expression since the feline has either subdued the guard - note the club - and is about to be captured. This depiction may represent a link in the man-feline theme in which the feline attacks on individual to steal another who in turn becomes the placating prisoner. (One might even speculate that the jaguar is a spirit animal stealing the soul of the subdued warrior.) MAP not yet available |
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REFERENCES:
117-1 Knobloch 1985:VA49191 117-2 Knobloch 1999/2000 117-3 Castillo 2000:Fig.14, second row, right; Fig.15 bottom, left |
| 1. Posture Elements | 2. Accessory Elements |
| 1.7.03 Bands of hooks along jaw line |
2.1.02 Cap with headbands (probably represent
strips of textile wrapped around head) 2.1.02.06 zigzag and filler dot band See also: 111 118 2.1.02.09 checkered band See also: 131 2.4.01 Earspool See also: 101 102 103 107 108 112 123 124 129 |
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AGENT: 118 MAP not yet available |
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REFERENCES:
118-1 Isbell and Cook 2002:Fig.9.13 Knobloch 1999 |
| 1. Posture Elements | 2. Accessory Elements |
| 1.7.04 Bands of zigzag and dots along jaw line |
2.1.02 Cap with headbands (probably represent
strips of textile wrapped around head) 2.1.02.06 zigzag and filler dot band See also: 111 117 2.1.02.10 feathered top pattern |
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AGENT: 119 Found only at Azangaro. MAP |
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REFERENCES:
119-1 Anders 1986:Fig.7.54a |
| 1. Posture Elements | 2. Accessory Elements |
|
1.3.04 Outlined
1.3.04.02 band and hook 129 |
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AGENT: 120 Found only at Azangaro. MAP |
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REFERENCES:
120-1 Anders 1986:Fig.7.55j |
| 1. Posture Elements | 2. Accessory Elements |
| 1.4.08 Pendent tufts on cheek |
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AGENT: 121 MAP not yet available |
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REFERENCES:
121-1 Knobloch 1977 |
| 1. Posture Elements | 2. Accessory Elements |
|
2.1.02 Cap with headbands (probably represent
strips of textile wrapped around head) 2.1.02.11 doubled ray design band |
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AGENT: 122 MAP not yet available |
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REFERENCES:
122-1 Knobloch 1999 |
| 1. Posture Elements | 2. Accessory Elements |
| 1.1.02 Divided into quadrant design fields |
2.1.02 Cap with headbands (probably represent
strips of textile wrapped around head) 2.1.02.12 band of horizontal S's edged with black and white zigzag bands |
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AGENT: 123 MAP not yet available |
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REFERENCES:
123-1 Textile Museum 1965:Fig.24 123-2 Kaulicke and Isbell 2001:cover 123-3 Isbell 2000:Fig.16, left 123-3 Isbell and Cook 2002:Fig.9.13 Knobloch 1999 |
| 1. Posture Elements | 2. Accessory Elements |
|
1.1.01 Divided into 2 design fields
1.1.01.01 by diagonal dentate line |
2.1.02 Cap with headbands (probably represent
strips of textile wrapped around head) 2.1.02.13 band of dots 2.4.01 Earspool See also: 101 102 103 107 108 112 117 124 129 |
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AGENT: 124 MAP not yet available |
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REFERENCES:
124-1 Kaulicke and Isbell 2001:cover 124-2 Isbell 2000:Fig.16, right |
| 1. Posture Elements | 2. Accessory Elements |
|
2.1.08 knotted scarf in pelt pattern with headband of horizontal S's
2.4.01 Earspool See also: 101 102 103 107 108 112 117 123 129 |
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AGENT: 125 MAP not yet available |
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REFERENCES:
125-1 Kaulicke and Isbell 2001:cover Knobloch 1999 125-2 Isbell 2000:Fig.16, middle |
| 1. Posture Elements | 2. Accessory Elements |
| 2.1.09 tall round hat with rows of hooks and stepped frets |
|
AGENT: 126 MAP not yet available |
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REFERENCES:
126-1 Isbell 2000:Fig.21D 126-2 Isbell and Cook 2002:Fig.9.17 |
| 1. Posture Elements | 2. Accessory Elements |
|
2.1.02 Cap with headbands (probably represent
strips of textile wrapped around head) 2.1.02.15 band of circles |
|
AGENT: 127 MAP not yet available |
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REFERENCES:
127-1 Ubbelohde-Doering 1927:Abb.20 |
| 1. Posture Elements | 2. Accessory Elements |
|
2.1.07 Cap with brim
See also: 110 |
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AGENT: 128 There are many images of Huari individuals with elaborate tear/cheek motifs; thus this individual probably represents a highland ethnicity. (see Hearst 4-4556) MAP not yet available |
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REFERENCES:
128-1 Hearst Museum 2002:4-4556 ; Uhle 1913:Fig.4 ; Menzel 1977:Fig.130 ; Knobloch 1989:Fig.15 ; Kaulicke 1998:262 |
| 1. Posture Elements | 2. Accessory Elements |
|
1.4.02 Tearband
1.4.02.02 double band ending in tufts |
2.1.02 Cap with headbands (probably represent
strips of textile wrapped around head) 2.1.02.16 wavy horizontal line with dots |
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AGENT: 129 Circlets in headdress appear to be sewn discs to a wrapped headdress. The top tuft of the vessel's rim may indicate feathers. This individual also has a noseplug. (see Hearst 4-4556) MAP not yet available |
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REFERENCES:
129-1 Hearst Museum 2002:4-4556 ; Uhle 1913:Fig.4 ; Menzel 1977:Fig.130 ; Knobloch 1989:Fig.15 ; Kaulicke 1998:262 129-2 Uhle 1935:Fig.19 129-3 Lapiner 1976:Fig.546 129-4 Watanabe 2001:Fig.9 |
| 1. Posture Elements | 2. Accessory Elements |
|
1.3.04 Outlined
1.3.04.02 band and hook 119 |
2.1.02 Cap with headbands (probably represent
strips of textile wrapped around head) 2.1.02.14 band with multiple rows of dots 2.2.02 Tunic: tie-dyed into contrasting circles See also: 100 104 2.4.02 Noseplug See also: 105 106 2.4.01 Earspool See also: 101 102 103 107 108 112 117 123 124 |
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AGENT: 130 MAP not yet available |
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REFERENCES:
130-1 Menzel 1977:Fig.129 130-2 Mazzoleni 1974: Fig.101 130-3 Ubbelohde-Doering 1927:Abb.1 ; Spielvogel 1955:Pl.100, photo 2 130-4 Ubbelohde-Doering 1927:Abb.7,8 130-5 Knobloch 2000c 130-6 Spielvogel 1955:Pl.100, photo 1 |
| 1. Posture Elements | 2. Accessory Elements |
|
2.1.02 Cap with headbands (probably represent
strips of textile wrapped around head) 2.1.02.02 multiple plain bands 2.2.09 Tunic: vertical stripes See also: 131 |
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AGENT: 131 MAP not yet available |
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REFERENCES:
131-1 Lumbreras (Fund de H.) ; Stierlin 1984:Fig.136 |
| 1. Posture Elements | 2. Accessory Elements |
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2.1.02 Cap with headbands (probably represent
strips of textile wrapped around head) 2.1.02.09 checkered band See also: 117 2.2.09 Tunic: vertical stripes See also: 130 |
|
AGENT: 132 On an exquisitely detailed jar, Agents 100, 132 and 137 are depicted with various cultivars. This association suggests control of cultivation. These agents may have overseen the planting and harvesting of the plants. Several plants occur at distinct elevations or environmental niches such as yuca, maize and potatoes. The agents may represent diverse communities whose association with the cultivars suggests economic cooperation among distinct groups thereby supporting a Huari political system. The depiction of yuca (manioc) is particularly curious in that its area of cultivation would be in the eastern slopes of the Andes. However Isbell (1977:10) and Anders (1986:56) mention the trade routes from Jargampata and Azangaro, respectively, into the ceja de selva region that probably existed during Middle Horizon. The identification of the oca and tuna are based on similar observations by Yacovleff and Herrera (1934:308, 321, respectively). MAP not yet available |
|
REFERENCES:
132-1 Knobloch 2000c 132-2 Ochatoma and Cabrera 2002:Fig.8.9D |
| 1. Posture Elements | 2. Accessory Elements |
|
1. ???
See also: 0 0 1. ??? See also: 0 0 1. ??? See also: 0 0 |
2. ???
See also: 0 0 2. ??? See also: 0 0 2. ??? See also: 0 0 |
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AGENT: 133 MAP not yet available |
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REFERENCES:
133-1 Knobloch 1979 |
| 1. Posture Elements | 2. Accessory Elements |
|
1. ???
See also: 0 0 1. ??? See also: 0 0 1. ??? See also: 0 0 |
2. ???
See also: 0 0 2. ??? See also: 0 0 2. ??? See also: 0 0 |
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AGENT: 134 MAP not yet available |
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REFERENCES:
134-1 Knobloch 1999/2000 |
| 1. Posture Elements | 2. Accessory Elements |
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1. ???
See also: 0 0 1. ??? See also: 0 0 1. ??? See also: 0 0 |
2. ???
See also: 0 0 2. ??? See also: 0 0 2. ??? See also: 0 0 |
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AGENT: 135 This image lacks a head. The body is wearing an elaborate tunic of vertical panels with profile griffins. As with Agent 100 at Conchopata, the agent appears to be standing on a reed boat. MAP not yet available |
|
REFERENCES:
135-1 Knobloch 1999/2000 |
| 1. Posture Elements | 2. Accessory Elements |
|
1. ???
See also: 0 0 1. ??? See also: 0 0 1. ??? See also: 0 0 |
2. ???
See also: 0 0 2. ??? See also: 0 0 2. ??? See also: 0 0 |
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AGENT: 136 This agent does not display many elite articles of clothing except for a large necklace. The agent may represent a female, though other agent images with little or no elaborate facial or head decoration can be male. MAP not yet available |
|
REFERENCES:
136-1 Knobloch 1983 |
| 1. Posture Elements | 2. Accessory Elements |
|
1. ???
See also: 0 0 1. ??? See also: 0 0 1. ??? See also: 0 0 |
2. ???
See also: 0 0 2. ??? See also: 0 0 2. ??? See also: 0 0 |
|
AGENT: 137 MAP not yet available |
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REFERENCES:
137-1 Ochatoma y Pérez 1998:back cover ; Knobloch 2000c |
| 1. Posture Elements | 2. Accessory Elements |
|
1. ???
See also: 0 0 1. ??? See also: 0 0 1. ??? See also: 0 |
