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9,000 year old Neolithic limestone mask found in the Judean desert
We are coming up to Halloween and, as always, we will have a special week of horrifying posts concerning a theme topic (like flaying, the undead, or the monstrous brood of Echidna). Before we get there, though, let’s take a peak back through time to look at some of the other faces that our forbears decided to put on in the ages before “Joker” or “It”. The greatest masks are astonishing sculptures, but they were more, too–masks lay at the crux of ancient cults and ancient drama. We will never truly know what the makers of that first mask up there were doing with it 9000 years ago (human sacrifice?), nor will we know what the Etruscans wanted with their Charun-like mask (human sacrifice?). We truly can’t know what the mysterious Moche wanted with their mostrous mask (human sacrifice?), and sadly, I couldn’t find out about the Bornean & Congolese masks. Yet on a deeper level we do know: our hearts tell us what each of these masks is about as surely as we can read a line of emoticons on a phone or know to jump away from a striking cobra. Some things are instinctual even for humans. Although I am sure an ethnologist would chide me, it is hard not to look through the empty eyes of masks, both sacred and profane, and see the familiar dark places always within the human heart.
Borneo Mask Indai-Guru Mask Borneo, Iban Dayak
Kumu Mask: Congo/Central Africa
Etruscan mask in Archeology Museum in Cagliari.
Moche Mask, Peru, 6th-7th century AD, Silvered copper, shell
We could talk about my very favorite ceramics makers…but their nation is still prominent in the world (indeed they are the world’s most populous nation), so we will talk about Chinese porcelain some other day. For now, let’s instead concentrate on my second favorite ceramics artists—the astonishing and mysterious Moche people of Peru. Ferrebeekeeper has tried to explain the nature of Moche culture (as archaeologists currently understand it to have been) and we have also tried to put up some galleries of their exquisite waterfowl and their amazing bats (which I think are the best bat artworks extant).
For tonight though I am going to present a gallery of Moche ceramic vessels in the shape of animals without any comment. This is partly because I want you to experience the exquisite form of the ancient clay without any distractions and…it is partly because I got started working on Christmas projects and didn’t get around to writing this post until the middle of the night. I think you will agree as you look at this collection of vessels, that the Moche were astonishing at conveying animals in a way which was streamlined and simple yet also brings out the beauty and the personality of the creatures. These are not Walt Disney-esque cartoon animals of unnatural sweetness and broad comedy…and yet they are also animals which have distinctive emotional resonance and convey the distinctive character, intelligence, and temperament of these South American animals. It is a hard balance to get right, and yet I feel that the unknown potters and sculptors of long ago have done a superb job at bringing out what was real and what was magical in these creatures. I am not explaining this the way I wish, but just try sculpting some animals and you will soon see what I mean.
Doodle (Wayne Ferrebee, 2015 colored pencil and ink)
I carry around a little Moleskine sketchbook and a tin of pencils and I doodle whimsical little scenes on the train and at lunch. Here are some scenes from the last fortnight!
Make the Moche of Life (Wayne Ferrebee, 2015 colored pencil and ink)
After writing my Halloween-time post about the Moche and their bat-theme pottery I was not done with their exhilarating & scary style. This is a cartoony-yet somehow intense and impressive picture of spirit beings from the long-lost world of the Moche, brought to life again after all of these years by the magic of art. The decapitator is there in the right. Various night creatures and spirit folk surround the great murderous sea god…his claws twitch open, hungry for necks to cut….
Toy Windmill Plan (Wayne Ferrebee, 2015 colored pencil and ink)
For Halloween I was Don Quixote. I carried a little model windmill around so I could say “Forsooth! I caught this baby monster!” I made the windmill myself out of detritus I found in the recycling pile—in the same style as my unpublished book of toy vehicles. This was the preliminary sketch for my toy windmill, but I colored it in and added little autumn figures around it.
Costume Party (Wayne Ferrebee, 2015 colored pencil and ink)
Speaking of Halloween, here are some revelers at a costume party I attended: it was a party for a theatre-troupe “One Year Lease” which puts on thought-provoking (or otherwise provocative) plays in Manhattan and Greece. The woman with the goat legs was dressed as some sort of androgynous Welsh nature spirit—she had one of the best outfits I have ever seen. The person dancing in the middle was supposed to be a time traveler from the future world of “Bill & Ted’s Excellent Adventure.” His suit lit up and made loud futuristic rock-and-roll noises.
In the Realm of the Mech Hippo (Wayne Ferrebee, 2015 colored pencil and ink)
Also with a fantastic bent, here is a drawing of a giant mechanized hippopotamus surrounded by fairy folk and oddballs. There is a bear with pantaloons, a composer, and two sentient hot-dogs (?). A willow tree buds in front of the dazzling sun. What does it all mean?
Traveler with Smart Phone (Wayne Ferrebee, 2015 colored pencil and ink)
Finally here is a woman with pink accessories riding the train. She was completely lost in her cell phone and never once looked up at the crazy spectacles in the train car. Fortunately I was there to sketch it all down in my little book.
Mastiff Bat Vessel (Moche, 50-200 AD North Coast, Peru, Earthenware)
Longtime readers will remember that Ferrebeekeeper has a great fondness for the magnificent art and pottery of the Moche, a civilization noted for sophisticated agriculture, ultra-violence, and, um, magnificent art and pottery. The Moche lived in the rich coastal lands of what is now northern Peru. In the past we have written about their art of sea monsters and human sacrifice, and of waterfowl. Today we look at Moche bat-themed art.
Crescent-Shaped Ornament with Bat, C.E. 1 – 300 (from the Brooklyn Museum)
Double lobed whistling bat sculpture (Ca. 450 – 800 A.D.) the bat makes a chirping/whistling noise when water is poured out and air is blown in
Gold Bat Ornament (Moche)
Bats were beloved subjects of much pre-Colombian art (I owe everyone a post about the bat in Aztec art and myth). Although they were great artists, the Moche were scary people who were always sacrificing and garroting and flaying (more about that next week) and excarnating and hanging corpses everywhere. Yeesh… Perhaps unsurprisingly, the bats of Moche art are scary creatures with grimacing monster teeth and near-human expressions of malice and grief.
Early Intermediate (Moche IV), Mochica Molded stirrup-spout vessel, A.D. 500–700 Ceramic with red and white slip North coast, Peru
Moche IV ceramic stirrup spout bat form effigy vessel
Sadly we don’t know precisely what place the bat held in Moche mythology. In fact we don’t know anything about Moche mythology except what we can intuit visually. However there are lots of bats to visually interpret and it seems like a safe bet that they had a chthonic underworld meaning (as they do in Western art and culture). These bats are demons and monsters born of the dark night-side of the human spirit.
Moche Vessel (Early Intermediate period) Bat demon
Probably Moche (?) AD 200-500
All of these grimacing fanged bats with bared claws and anguished eyes make me think of the Moche people themselves—caught up in their centuries-long game of bloody worship and savage status. I wish I could help them, or even understand them, but they are gone. All we have are their skeletons and their beautiful dark art.
Moche – Pair of Gilt Bat Appliques. Loma Negra, Peru.
Gold Nasal Ornament with bat (Moche)
Moche Ceramic Vessel in the form of a Crab (Photo: Museo de América de Madrid)
Yesterday’s post for World Oceans Day did not sate my need to write about the endless blue bounding. I am therefore dedicating all of the rest of this week’s blog posts to marine themes as well (“marine” meaning relating to the sea—not the ultimate soldiers). Today we are traveling back to South America to revisit those masters of sculpture, the Moche, a loose federation of agricultural societies which inhabited the Peruvian coastal valleys from 100 AD – 900 AD.
Moche Vessel: A Human with a Large Fish
I keep thinking about the beauty and power of Moche sculptural art, and the Moche definitely had strong feelings about the ocean. In fact an informal survey of Moche art online indicates that their favorite themes were cool-looking animals, human sacrifice, the ocean, grown-up relations between athletic consenting adults, and crazy nose-piercings.
Golden Moche Nose-Ornament in the shape of Lobsters
Moche Sea Turtle Vessel
You will have to research some of these on your own, but I have included a selection of beautifully made Moche art of sea creatures. Look at the expressiveness of the crab, the turtle, and particularly the beautiful lobsters (which are part of a large pectoral type ceremonial ornament held in place through the nose). Moche ceramics are as rare and beautiful in their way as Roman paintings or Greek sculpture. I wish we knew more about Moche culture and mythology to contextualize these striking works—but the outstanding vigor and grace of the figures is enough to feel something of what this vivid culture was like.
Moche Ceramic Vessel shaped like a Fish
Moche Ceramic Duck Vessel (ca. 300 AD -500 AD)
Here are four stirrup spout bottles in the shape of ducks from my favorite sculptors of Pre-Columbian South America, the Moche. The Moche lived in what is now northern Peru in a lose alliance of culturally affiliated tribes. Their civilization flourished between 100 AD and 800 AD. It is believed that the Moche worshipped dark and horrible monster gods and practiced extreme forms of human sacrifice. It is also believed that they kept cute ducks as pets!
Moche Ceramic Duck Vessel (ca. 300 AD -500 AD)
The excellent workmanship and loving detail of these vessels tends to support the theory that the Moche were duck keepers. Look at the graceful composition, the harmonic colors, and the sheer personality expressed in the bird’s faces.
Moche Ceramic Duck Vessel (ca. 300 AD -500 AD)
Moche society was built around sophisticated irrigation methods and anthropologists speculate that their artwork expresses the central importance of fluids to their life. Aside from certain religious works which show terrible sea gods, most surviving Moche artifacts are water vessels. The filling/pouring nature of the works is central to understanding them. Some works depict sacrifice victims or dying warriors where the fluid gushes from the mouth or from wounds. Other Moche vessels depict fertility and life directly by portraying figures during intercourse or other erotic acts. The duck vessels however are unwounded, self-contained, and healthy. It seems the fearsome Moche really did care for their fowl…
Moche Ceramic Duck Vessel (ca. 300 AD -500 AD)
A Gold Moche Headdress portraying a Sea Goddess
The Moche civilization was a culture which flourished between 100 and 800 AD in northern Peru. Although the Moche had sophisticated agricultural know-how and created elaborate irrigation canals to water their crops, their religious iconographs shows that their hearts belonged to the ocean. This seems to be literally true, their greatest god, Ai Apaec (AKA “the decapitator”) was a horrifying aquatic deity with the arms of a crab or an octopus [I desperately wanted to feature this deity in my Gods of the Underworld Category, but there is not much hard information about him. I’m still tagging this post to that category because…well, just look at him]. Ai Apaec thirsted for human blood and Moche religious ceremonies seem to have been based around human sacrifice. There is substantial archaeological evidence available about the Moche people and their civilization. Several large structures remain extant in the dry climate of Northern Peru. From these temples and graves, we can get a sense of Moche society.
A Sculpture of Ai Apaec, the Decapitator (Gold, copper, and polished stone)
One of the most important Moche sites is the Huaca del Sol (Shrine of the Sun) an adobe brick temple pyramid which is believed to have functioned as a royal palace, royal tombs, and as a temple. Although a substantial portion of the complex was destroyed by the Spanish, who mined it for gold, enough remained to provide archaeologists with a picture of Moche life. Additionally an untouched smaller temple the Huaco del Luna was discovered nearby. The conclusions drawn from studying these compounds were dramatic and horrifying. Archaeology magazine describes two excavations and their grisly discoveries:
Bourget and his team uncovered a sacrificial plaza with the remains of at least 70 individuals–representing several sacrifice events–embedded in the mud of the plaza, accompanied by almost as many ceramic statuettes of captives. It is the first archaeological evidence of large-scale sacrifice found at a Moche site and just one of many discoveries made in the last decade at the site.
In 1999, Verano began his own excavations of a plaza near that investigated by Bourget. He found two layers of human remains, one dating to A.D. 150 to 250 and the other to A.D. 500. In both deposits, as with Bourget’s, the individuals were young men at the time of death. They had multiple healed fractures to their ribs, shoulder blades, and arms suggesting regular participation in combat. They also had cut marks on their neck vertebrae indicating their throats had been slit. The remains Verano found differed from those in the sacrificial plaza found by Bourget in one important aspect: they appeared to have been deliberately defleshed, a ritual act possibly conducted so the cleaned bones could be hung from the pyramid as trophies–a familiar theme depicted in Moche art.
A view of the Huaca de la Luna, with Cerro Blanco in the background.
In 2006, Archaeologists were fortunate enough to discover an extremely well-preserved Moche mummy. Peru This Week outlined the discovery, writing, “The mummy, herself 1,500 years old, is of a woman in her 20s, believed to be an elite member of the Moche tribe. The skeleton of an adolescent girl offered in sacrifice was found with a rope still around its neck. The archaeologists from Peru and the US found the mummy at a site called El Brujo on the north coast near Trujillo. They have dated the mummy to about 450 AD.”
We know a great deal about Moche culture not merely from such rich archaeological finds but also from the vivid artistic skills of the Moche themselves. Not only were they accomplished painters, the Moche were among the world’s great ceramics makers. They crafted vessels which beautifully portrayed deer, birds, mollusks (like the spiny oyster), and other sea creatures. They also made many ceramic art objects portraying war, agriculture, economic activities, and copulation. Many of these Moche ceramics grace the world’s great museums: the expressive grace of the crafting speaks to a society which understood and revered beauty.
A Frog-shaped Moche Vessel (Ceramic with earth glaze)
The decline and failure of Moche civilization is something of a mystery. The civilization reached an apogee early in the 6th century. Then the great communities of that era appear to have been wiped out by the climate change which affected civilizations worldwide. It seems like the horrible weather events of 535–536 played particular havoc with Moche society. However the Moche survived these upheavels and settlements have been discovered from the middle of the seventh century onward to 800 AD. The character of these latter communities is different from that of the golden age Moche civilizations. Fortifications were much in evidence and the trade and agricultural underpinnings of civilization seem to have been much reduced. Perhaps the Moche were involved in a series of internal battles among varying factions and elites.
The magnificent shell of Spondylus regius
When I was a child, I had a shell collection. Some of my shells were ordinary things which I picked up on the beach. Others were handsome store-bought shells which were given to me as presents. The most beautiful shells which I had were gifts from my grandparents–world-travelers who had lived in Africa, Europe, and Asia as the cold war played out and colonialism ended. They gave me my favorite shell, a beautiful red spiny oyster shell which I kept on my desk wherever I moved (until it was destroyed, out of spite, by my first lover). Humankind’s fascination with the spiny oyster goes back a long way. To add to the Ferrebeekeeper mollusk thread, here are some pictures and facts about the Spondylidae family (aka the thorny oysters or spiny oysters). These bivalve mollusks are relatives to the scallops, but, like the oysters, they cement themselves to one location. Filter feeders of the reef, all of the various species of Spondylus have ball and socket hinges (whereas most bivalves have toothed hinges). Live Spondylus shellfish are like tiny reefs in their own right supporting a rich community of algaes, hydroids, tubeworms, and other invertebrates on their spiny shells.
A living Spondylus varius on a coral reef
To quote CoralMorphologic which films amazing close-up videos of invertebrates and is the source of the thorny oyster eyes photo below, “Unlike most shallow-water oyster species, the thorny oyster is a solitary creature that lives permanently cemented to the deeper coral reef. Its fleshy mantle is adorned with sepia-toned psychedelic camouflage that can vary widely from one individual to the next. The rim of the mantle is lined with dozens of eyes that stare out into the depths. These eyes are quite simple, only detecting changes in light that might suggest an incoming predator. If a threat is detected, the oyster will quickly snap its two shells together, sealing the animal inside with its two powerful adductor muscles.”
Spondylus eyes seen close-up (a screen capture from an amazing CoralMorphologic video)
The desire to collect spiny oysters is much older than civilization. Bangles made of the shells and were found in Mediterranean archaeological excavations dating from the Mesolithic period. Ornaments made from the shells were found in the Varna necropolis, the burial ground of the the Eneolithic Varna culture located in what is today Bulgaria. Almost 7000 years ago the people of central Europe were trading something for Spondylus shells from the Aegean. That was before Eridu raised up from the mud and civilization got rolling in earnest. Apparently one could trade spiny oyster shells for goods and services before you could buy a beer!
The Moche society which flourished in Ecuador and Northern Peru from 100 AD – 800 AD, made the most extensive ritual use of Spondylus shells in their ceremonies and art. Spondylus shells (and vessels shaped like them) were believed to have held the blood obtained from ritual human sacrifice and torture. Not only did the Moche worship the sea and the creatures therein, one of their principal deities was a spider/crab who thrived on blood sacrifice. The shape and color of the spiny oyster shell seem to have made the shells a favorite material for votive offerings and grave goods for that formidable people.
The head of a Moche Deity (Gold with carved Spondylus shell teeth)
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