The Moche civilization flourished in northern Peru from about AD 100 to AD 800, during the Regional Development Epoch. While still the subject of some debate, many scholars contend that the Moche were not politically organized as monolithic empire or state but rather as a group of autonomous polities that shared a common elite culture as seen in the rich iconography and monumental architecture that survive today. They are particularly noted for their elaborate painted ceramics, gold work, monumental constructions (huacas) and irrigation systems. Moche history may be broadly divided into three periods – the emergence of the Moche culture in Early Moche (AD 100–300), its expansion and florescence during Middle Moche (AD 300–600), and the urban nucleation and subsequent collapse in Late Moche (AD 500–750). Moche society was agriculturally based with a significant level of investment in the diversion of river water into a network of irrigation canals. Their culture was sophisticated and their artifacts document their lives with detailed scenes of hunting, fishing, fighting, sacrifice, sexual encounters and elaborate ceremonies. The Moche cultural sphere is centered around several valleys on the north coast of Peru –Lambayeque, Jequetepeque, Chicama, Moche, Virù, Chao, Santa, and Nepena. The Huaca del Sol, a pyramidal adobe structure on the Rio Moche, had been the largest pre-Columbian structure in Peru; however, it was partly destroyed when Spanish conquistadors mined its graves for gold. Fortunately the nearby Huaca de la Luna has remained largely intact – it contains many colorful murals with complex iconography and has been under excavation since the early 1990s. Other major Moche sites include Sipan, Pampa Grande, Loma Negra, Dos Cabezas, Pacatnamu, San Jose de Moro, the El Brujo complex, Mocollope, Cerro Mayal, Galindo, Huancaco, and Panamarca.
The mystery of the sacrifices
Both iconography and the finds of human skeletons in ritual contexts seems to indicate that human sacrifice played a significant part in Moche religious practices. These rites appear to have involved the elite as key actors in a spectacle of costumed participants, monumental settings and possibly the ritual consumption of blood. While some scholars, such as Christopher Donnan and Izumi Shimada, argue that the sacrificial victims were the losers of ritual battles among local elites, others, like John Verano and Richard Sutter, suggest that the sacrificial victims were warriors captured in territorial battles between the Moche and other nearby societies. Excavations in plazas near Moche huacas have found groups of people sacrificed together and skeletons of young men deliberately excarnated (In anthropology the term excarnation refers to the burial practice adopted by some societies of removing the flesh of the dead, leaving only the bones) perhaps for temple displays. The Moche may have also held and tortured the victims for several weeks before sacrificing them, with the intent of deliberately drawing blood. Verano believes that some parts of the victim may have been eaten as well in ritual cannibalism. The sacrifices may have been associated with rites of ancestral renewal and agricultural fertility. Moche iconography features a figure scholars have nicknamed the ’Decapitator’, frequently depicted as a spider, but depicted as a winged creature or a sea monster, all three features symbolizing land, water and air. When the body is included, it is usually shown with one arm holding a knife and another holding a severed head by the hair. The ’Decapitator’ is thought to have figured prominently in the beliefs surrounding the practice of sacrifice.
The Gold Mausoleum
Walter Alva prompted the construction of a museum called the Royal Tombs of Sipan, which was inaugurated in 2002. It is located in Lambayeque, and was inspired by the ancient pyramids of the truncated pre-Hispanic Moche civilization, (I to VII century AD). The museum displays more than two thousand pieces of gold. It has its origin in a project of organized archaeological rescue in April of 1987, when a small team of Peruvian archaeologists assumed the responsibility to save and to investigate the archaeological sanctuary of Sipán, as opposed to its violent sacking and destruction. All the exhibits are original pieces and each has been carefully cleaned and restored. Obviously the main attraction is the Tomb of the Lord of Sipan, with his companions and their respective Funerary. The clothing of this warrior and ruler suggest he was approximately 1.67 meter tall. He probably died within three months of governing. His jewelry and ornaments that indicate he was of the highest rank include pectoral, necklaces, nose rings, earrings, helmets, falconry and bracelets. Most were of gold, silver, copper, gold and semi-precious stones. In his tomb, were found more than 400 jewels. His necklace of gold (on the left side of his chest) and silver (on the right) symbolized the Sun and the Moon. The display of both gods in the sky at a time of the day expressed the perfect balance, according to Moche mythology. Because of his high rank this ruler was buried along with eight people, apparently his wife and other two women possibly concubines, a military commander, a watchman, a banner holder and a child. Among the animals found was a dog.
Moche pottery is some of the most varied in the world. The use of mould technology is evident which would have enabled the mass production of certain forms. But despite this, they had a large variation in shape and theme with most important social activities documented in pottery including war, sex, metal work, and weaving. Given the unusual emphasis on life-like depictions on the famous elite portrait vases, some have suggested that individuality was an important aspect of Moche political culture. The portrait vases also seem to show the personality of the subject: some are shown laughing, others in deep thought, some with bad acne, others angry, etc. Moche erotic pottery is fascinating, not only due to the vast number of sexual activities represented, but also because procreative coitus was only depicted in a limited number of circumstances when the male involved wore ceremonial garb, the female had two braids which ended in snake’s heads, and the copulation occurred under an elaborate roof of a ceremonial building. In these scenes of procreative sex, additional figures are always depicted watching the couple in the building and holding their hands as though in supplication. The precise meaning of this has never been established. The coloration of Moche pottery is often simple, with yellowish cream and rich red used almost exclusively on elite pieces, with white and black used in only a few pieces. Looters and the elements have mostly destroyed the adobe buildings over the last 1300 years, but the huacas that remain show that the coloring of their murals was very vibrant. Unfortunately, little is known about Moche textiles as few examples have survived.
In 2005, a mummified Moche woman was discovered at the Huaca Cao Viejo, part of the El Brujo archeological site on the outskirts of Trujillo, Peru. It is the best-preserved Moche mummy found to date and the tomb that housed her had unprecedented elaborateness. The archaeologists on the site believe that the tomb had been undisturbed since approximately 450 AD. The tomb also contained various military and ornamental artifacts, including war clubs and spear throwers. A garroted young girl, probably a servant, was found in the tomb with her. Peruvian and U.S. archaeologists in collaboration with National Geographic announced news of the discovery in May 2006. In 2006 perhaps the most lavish (certainly the most valuable, pound-for-pound) Moche artifact ever discovered turned up in a Londoner’s office — a magnificent gold mask depicting a sea goddess with beautiful spirals radiating from her stone-inlaid face. It is thought that the artifact was looted from a nobleman’s tomb in the late 1980s (La Mina); it has now been returned to Peru.