Les premières civilisations péruviennes se sont épanouies pendant la période dite « formative » entre 2500 av. J.-C. et le début de notre ère. Les connaissances actuelles sur le Formatif et les cultures Cupisnique ou Chavín ont été largement influencées par les théories évolutionnistes et diffusionnistes héritées du XIXe siècle. Ce travail de recherche répond à la nécessité d’opérer une synthèse réactualisée de cette période mal connue et de redéfinir le premier horizon culturel communément appelé Chavín. D’une part, cette étude propose un cadre chronologique fondé sur la réévaluation systématique des séquences chrono-culturelles de l’ensemble des sites archéologiques occupés à cette époque. Elle établit une périodisation du Formatif et détermine les principaux groupes culturels qui caractérisent ses différentes étapes. D’autre part, ce travail apporte une réflexion épistémologique sur les concepts Cupisnique et Chavín. L’Horizon Chavín, traditionnellement défini comme le résultat de la diffusion stylistique de l’art religieux de Chavín de Huántar, est ici réinterprété au regard des données récentes de la recherche archéologique et d’une analyse approfondie des données chronologiques et culturelles des centres cérémoniels les plus importants. Cette étude précise enfin le rôle majeur que les sites de tradition culturelle Cupisnique et le temple de Chavín de Huántar ont joué dans l’élaboration et la mise en place de concepts religieux communs transcrits dans une écriture iconographique codifiée. / Early Peruvian civilisations were flourishing during the period called « Formative » between 2500 BC and the beginning of our era. The current knowledge of Formative and Cupisnique or Chavín cultures has been considerably influenced by evolutionist and diffusionist theories inherited from the nineteenth century. This research attempts to meet the necessity of realising an updated synthesis of this almost unknown period and to redefine the first cultural horizon usually called Chavín. On the one hand, this study proposes a chronological frame based on systematic revaluation of the chrono-cultural sequences of all the archaeological sites of this period. It sets out a chronology of the Formative cultures and determines the main cultural groups which characterise its different stages.On the other hand, this work offers an epistemological thought on Cupisnique and Chavín cultures. Chavín Horizon, traditionally defined as the result of the stylistic diffusion of Chavín de Huántar religious art is re-interpreted in the light of recent archaeological data collected in the main ceremonial centers. Finally, this dissertation makes clear the major role that Cupisnique sites and Chavín de Huántar temple have had in the creation and the development of shared religious concepts transcribed in a codified iconographic writing.

This article focuses on the major Formative Period sites of the Zaña and Jequetepeque valleys, focusing on settlement patterns, monumental architecture, specific sectors within the two valleys where sites were concentrated. Specific attention is given to the Cupisnique and Huacaloma ceramic styles in the valleys. The two valleys shift cultural allegiances through time and space to provide regional Formative patterns. Factors explaining these patterns are postulated. / El presente artículo se enfoca en el estudio de los principales sitios del Periodo Formativo de los valles de Zaña y Jequetepeque, y analiza, en especial, los patrones de asentamiento, arquitectura y sectores específicos al interior de ambos valles donde los yacimientos se concentran. Se presta particular atención a los estilos cerámicos Cupisnique y Huacaloma, los que manifestaron filiaciones diferentes de acuerdo con el tiempo, el espacio y el ámbito en el que se desenvolvieron, con lo que conformaron patrones regionales durante el Periodo Formativo. En este trabajo se postulan varias hipótesis respecto de los factores que explican estos patrones.

Kuntur Wasi Ceramics and the Chavín ProblemThe archaeological investigations at the formative site of Kuntur Wasi since 1988 conducted by the Tokyo University Archaeological Mission led to new and relevant data concerning sequences of ceremonial structures, lithic sculpture and gold ornaments from special tombs. The site's chronology based on typological ceramics analysis is presented. With the support of the radiocarbon dates it is sustained that the significant changes in the second Kultur Wasi phase are not due to the acceptance of the "Chavin Cult" or the distribution of "Janabarriu-related ceramics" but to the arrival of people of the Cupisnique culture from the northern coast. The changes in the highland temples like Kuntur Wasi and Chavin de Huantar are results of the abandonment at about 800 to 700 B.C. / Las investigaciones en Kuntur Wasi, realizadas desde 1988 por la Misión Arqueológica de la Universidad de Tokio, han sacado a luz varios datos significativos para el Periodo Formativo, tales como estructuras ceremoniales superpuestas, monolitos de piedra y objetos de oro hallados en las tumbas especiales. Este artículo presenta la cronología del sitio basada en resultados de análisis tipológico de la cerámica. Teniendo en cuenta las comparaciones de ésta y los fechados radiocarbónicos, se plantea que el gran cambio ocurrido en la segunda fase de Kuntur Wasi no se puede interpretar como la aceptación del "culto Chavín" o la distribución de "cerámica relacionada con Janabarriu" sino como la intrusión de un grupo perteneciente a la cultura Cupisnique de la costa norte. Los cambios ocurridos en los templos de la sierra como Kuntur Wasi y Chavín de Huantar, están relacionados con el abandono de los centros ceremoniales de la costa alrededor de 800-700 a.C.

Dissertation--Archaeology--University of Calgary, 1998. / Bibliogr. p. 291-302.

Cupisnique culture was first identified by Rafael Larco Hoyle in the 1930s through his encounter with an early ceramic style in the Cupisnique Quebrada on the north coast of Peru. Since that time, the ceramic styles, region and time period to which the term ‘Cupisnique’ pertains have remained loosely defined, associated with northern Peru and the Middle Formative Period (1200-900 BCE). The interpretation of Cupisnique culture has further relied on research at the highland site of Chavín de Huántar and a presumed Chavín style horizon. Cupisnique visual materials, however, provide a rich corpus from which to advance analysis of this cultural tradition. In this dissertation, I group the chapters into two parts – background information and substantive material analyses. In Part I, I begin with a concise history of Cupisnique studies, which review permits to establish the objectives and methodology of the investigation. The latter includes archaeological and visual approaches to Cupisnique culture, as well as the geographic, environmental and ecological conditions pertinent to northern Peru. In Part II, I present the results of archaeological fieldwork at the Cumbemayo Canal, near the city of Cajamarca, Peru. Based on the field research, I examine the impact of coastal Cupisnique culture into this north highland region, and I discuss the symbolic role of monumental water management and the creation of a ritualized landscape. The intricate design of the Cumbemayo Canal segues conceptually to the exploration of a larger visual system. Based on a defined corpus of ‘Classic’ Cupisnique stirrup spout bottles, I venture a comprehensive examination of prominent themes, motifs and scenes in Cupisnique iconography. I argue that the latter comprises a reticular visual program that serves to instantiate a complex and developing ideological system. Given the common visual motifs, the tenets of this ideology consist in concepts of capture, sacrifice and fertility, interwoven through a structure of symbolic dualities. In the conclusion, I demonstrate how this proposed Cupisnique ideology conceptually fits with the development of social complexity in northern Peru through and following the Formative Period in the Andes. / text

This is a first synopsis of the research that we have realized at the Templete de Limoncarro recognized as a site of the Cupisnique culture. At this Templete we have excavated five times and identified two phases of construction. The structures of the first phase, La Calera, are very few, while at the second phase, Limoncarro, are constructed a sunken court and three platforms, which are the objects of frequent repair. Some structures of conic adobe at the platforms represent faces of animals, which seems to be of the Cupisnique iconography. / La presente es una primera aproximación al estudio que se realiza en la actualidad en el Templete de Limoncarro, complejo reconocido como un sitio de la cultura Cupisnique. En este se han efectuado excavaciones a lo largo de cinco temporadas y se ha comprobado la existencia de dos fases de construcción. Las edificaciones de la primera fase, denominada La Calera, son muy escasas, en tanto que a la segunda fase, nombrada como Limoncarro, corresponden la plaza hundida y las tres plataformas identificadas, las que fueron objeto de reparaciones frecuentes mientras estuvieron vigentes. Algunas de las estructuras hechas con adobes cónicos en dichas plataformas representan rostros de animales, los que se asemejan a la iconografía cupisnique.

Two Monoliths of the Congona Archaeological Site, Northern Highlands of PerúIn this article, we present data on two stone monoliths of the Congona archaeological site, located in the northern highlands of the Department of Lambayeque in Perú. According to the iconography of these two monoliths, it is suggested that they represent the gate of a Formative ceremonial center at Congona. The two monoliths share certain characteristics with columns of the Black and White gate at Chavín de Huántar. Congona is a key site location for understanding the route and interaction between ceremonial centers on the north coast and in the highlands of Perú during the Formative Period. / Este artículo muestra las representaciones de dos monolitos del sitio arqueológico de Congona, ubicado en la sierra norteña del departamento de Lambayeque, Perú. Debido a su iconografía, se postula que debieron haber formado parte del portal de un centro ceremonial del Periodo Formativo; además, comparten características con las columnas del Portal Blanco y Negro de Chavín de Huántar. Respecto de su ubicación, Congona es un complejo clave para esclarecer la ruta e interacción entre los centros ceremoniales en la sierra y la costa norte del Perú durante el Periodo Formativo.

This dissertation is a formal and iconographic study of a distinctive engraved motif found on Cupisnique style vessels that were excavated in what is now northern Peru. The Cupisnique style was developed approximately between 1200 – 200 B.C.E., and was mainly centered in the Jequetepeque and the Chicama Valleys in the northern coastal region of Peru. This study includes an analysis of two ceramic vessels in the collection of the Virginia Museum of Fine Arts (henceforth VMFA). The purpose of this dissertation is to document and analyze the Cupisnique engraved head motifs and to argue that these motifs reflect the influence of early Formative Ecuador ceramics on the later coastal Cupisnique as well as on the highland Chavín style. In addition to the two VMFA vessels, this study documents and analyzes an additional one hundred seventy seven (177) Cupisnique ceramics vessels that were also engraved with head motifs. These belong to various museums and private collections in South and North America. This study also presents a catalog of all documented head motifs, including those captured on photographs and in original drawings. The Cupisnique head motifs are classified by individual elements, and iconographies of Cupisnique head motifs are presented based on the origin and influence of the motifs.