We present newly-registered Paiján sites in the interior and upper parts of the Chicama, Moche and Virú valleys, with strong tiesto the highland region. The research indicates that Paiján hunter-gatherers were not only a coastal group whose subsistence was basedon marine resources. They also occupied diverse ecological environments preferring springs with high mobility across the Andes and exploiting diverse resources, such as white-tail deer (Odocoileus virginianus) and raw materials for producing lithic tools. / En este artículo se presenta el registro de nuevos sitios paijanenses al interior y parte alta de los valles de Chicama, Moche y Virú, más vinculados con la región de la sierra, lo que evidencia, de manera consistente, que estos grupos de cazadores-recolectores no se establecieron solo en la costa y basaron su subsistencia en los recursos marinos, sino que ocuparon diversos ambientes ecológicos siempre relacionados con fuentes de agua y tuvieron un amplio grado de movilidad de manera longitudinal y transversal a lo largo de los cursos de ríos y quebradas, con lo que pudieron aprovechar una mayor diversidad de recursos, entre ellos el venado gris de cola blanca (Odocoileus virginianus) y materias primas para la elaboración de herramientas líticas.

"El Castillo" de Huarmey: A Middle Horizon Burial PlatformDue to excellent conditions of preservation excavations at the Middle Horizon site "El Castillo" de Huarmey have yielded many textiles. It is now clear that the majority of the textiles known as "Moche-Huari" come from this site. In this paper architectural remains at the site and other surface findings are described and discussed. These new data shed interesting light on cultural dynamics in this region during the Middle Horizon. / Gracias a unas excelentes condiciones de conservación, se ha podido recuperar un gran número de tejidos del "Castillo" de Huarmey, complejo correspondiente al Horizonte Medio. La mayoría de los tejidos "moche-huari" que se conocen actualmente provienen de este sitio. En este trabajo se discuten tambien los restos arquitectónicos conservados, así como hallazgos de superficie de otros tipos de materiales. Los datos obtenidos revelan aspectos interesantes acerca de la dinámica cultural en esta región durante el Horizonte Medio.

In this article, we present the preliminary results of the first season of excavations at Huaca Cortada, Caballo Muerto Complex, lower Moche Valley. While Huaca Cortada is one of the largest mounds at Caballo Muerto, there is little known about its occupation. Our research focused on various aspects of the site’s occupation including a more detailed understanding of its construction and chronology. We have determined that Huaca Cortada was first constructed around 1500 cal BC. However, the presence of pottery associated with later architectural phases indicates a longer and more complex occupational history. Furthermore, the excavations showed that Huaca Cortada was built in multiple construction phases to increase its size through time. This fact challenges previous conclusions that Huaca Cortada was built in a single construction episode, which was directed by a centralized political authority. Interestingly, several of the building phases of the mound have sedimentary deposits formed by strong rains associated with the El Niño phenomenon. / En este artículo se presentan los resultados preliminares de la primera temporada de excavaciones en Huaca Cortada, complejo de Caballo Muerto, valle bajo de Moche. A pesar de que es uno de los edificios más grandes de dicho conjunto, hay poca información sobre su ocupación. El actual estudio, enfocado en varios aspectos de este tema, ofrece una comprensión más detallada de las fases de construcción y de su cronología. Se determinó que Huaca Cortada fue erigida alrededor de 1500 a.C. (calib.); sin embargo, la presencia de cerámica asociada a fases de una ocupación más tardía sugiere una historia más larga y compleja. Además, las excavaciones demuestran que el montículo fue construido en múltiples fases y con el objeto de aumentar sus dimensiones. Más aún, algunas fases tienen depósitos con sedimentos producidos por las fuertes lluvias asociadas al fenómeno de El Niño. Estas conclusiones desafían las afirmaciones previas, que indicaban que Huaca Cortada había sido levantada en una sola fase y bajo la dirección de una autoridad centralizada.

Wari Presence in the San José de Moro SiteSan José de Moro has been recognized as one of the most important Late Moche sites in the Jequetepeque Valley. Throughout 10 years of continuous excavations a detailed ocupational history has been obtained, and the site has been interpreted as a regional ceremonial center and an elite cemetery. High status burials, such as the Priestess of Moro, have been excavated, and it is from this site that most of the Late Moche Fine Line Ceramics comes. In this context, finding large quantities of Wari, Wari-derived, and Polychrome Moche ceramics is puzzling. It is during late Moche, and apparently at the same time as Fine Line decoration was being incorporated, that the first evidence of Wari show up at Moro. Wari influence at the site seems to have two phases, the first one associated with Late Moche, and related to the Middle Horizon 1, and the second associated with the Transitional Period, and represented by the presence of Middle Horizon 2 ceramics. In this article I advance an explanation of the conditions under which the Wari influence was accepted, and the consecuences of its presence in the ultimate colapse of Moche society. / San José de Moro ha sido reconocido como uno de los sitios Mochica Tardíos más importantes en el valle de Jequetepeque. A lo largo de 10 años de excavaciones, se ha obtenido una historia ocupacional detallada y se ha interpretado el sitio como un centro ceremonial regional y cementerio de elite. Se han excavado entierros de alto status, como el de la Sacerdotisa de Moro, y es de este sitio que proviene la mayoría de la cerámica de línea fina Mochica Tardío. En este contexto, sorprende encontrar grandes cantidades de cerámica wari, wari derivado o mochica polícromo. Es durante el periodo Mochica Tardio -y, al parecer, a la vez que se incorporaba la decoración de línea fina- que las primeras evidencias de Wari aparecen en San José de Moro. La influencia wari en el sitio parece tener dos fases: la primera asociada con el periodo Mochica Tardío, relacionada con el Horizonte Medio 1, y la segunda con el Periodo Transicional, representada por la presencia de la cerámica del Horizonte Medio 2. En este artículo se adelanta una explicación de las condiciones bajo las cuales fue aceptada la influencia wari y las consecuencias de su presencia en el colapso definitivo de la sociedad moche.

El proyecto se enfoca en analizar los aspectos culturales y sociológicos de la ciudad de Trujillo, y fusionarlos con la arquitectura de Centro Cultural y Museo para elaborar un proyecto arquitectónico que respete las características principales del contexto y se relacione entre ellas. En la investigación, se encontraron tradiciones culturales de la época incaica en Trujillo que aún siguen practicándose. Sin embargo, la práctica de estas va quedando en el olvido o reducido al punto de solo practicarlo en especificas familias que conservan estas tradiciones. Por lo que realizar un proyecto que albergue, difunda estos aspectos culturales de Trujillo, que armonice con su contexto natural y su cultural, fue el principal objetivo de este trabajo. Es por ello que, en fusión con el regionalismo crítico, a modo de énfasis, se pudo generar una sinergia entre la arquitectura y cada una de las características propias del lugar. Ya sea por su ubicación, emplazamiento, colores, materiales y técnicas constructivas. Permitiendo que el proyecto funcione como un foco cultural que alberga las principales actividades culturales de Trujillo, así como promover la difusión de las culturas Moche y Chimú, y principalmente armonizando con su contexto inmediato. Mediante la exhibición de piezas arqueológicas de ambas culturas, la promoción y difusión de las actividades culturales de la zona se logra con éxito el propósito del proyecto. El cual tiene como finalidad mantener viva las principales culturas de Trujillo, Cultura Moche y Chimú, y que su legado se mantenga vigente con el transcurrir del tiempo. / The project focuses on analyzing the cultural and sociological aspects of the city of Trujillo, and merging them with the architecture of the Cultural Center and Museum to develop an architectural project that respects the main characteristics of the context and is related to each other. In the investigation, cultural traditions from the Inca period were found in Trujillo that are still being practiced. However, the practice of these is being forgotten or reduced to the point of only practicing it in specific families that preserve these traditions. Therefore, carrying out a project that shelters, disseminates these cultural aspects of Trujillo, that harmonizes with its natural and cultural context, was the main objective of this work. That is why, in fusion with critical regionalism, by way of emphasis, a synergy could be generated between the architecture and each of the characteristics of the place. Either because of its location, location, colors, materials and construction techniques. Allowing the project to function as a cultural focus that houses the main cultural activities of Trujillo, as well as promoting the diffusion of the Moche and Chimú cultures, and mainly harmonizing with its immediate context. Through the exhibition of archaeological pieces from both cultures, the promotion and dissemination of the cultural activities of the area, the purpose of the project is successfully achieved. The purpose of which is to keep alive the main cultures of Trujillo, the Moche and Chimú culture, and that their legacy remains in force over time. / Tesis

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

Esta pesquisa pretende realizar um mapeamento e análise de artefatos cerâmicos da cultura Mochica que contenham personagens que tocam instrumentos sonoros (aerofones, membranofones e idiofones1) com vistas a encontrar nesses \"músicos\" atributos e características que os identificam como figuras que concentram poder político-religioso. O objetivo geral da pesquisa é compreender se haveria um espaço de atuação específico para os músicos nas estruturas de poder mochicas, bem como a relação dos mesmos com as elites durante o período Moche Médio. Este período foi marcado pela ascensão das elites dos vales mochicas ao sul de Jequetepeque, contexto em que surgem, na iconografia da cerâmica ritual arqueológica, muitos músicos portando atributos de indivíduos de elevado status social, como o o Senhor Noturno, o Senhor Solar e o Tomador de Coca, entre outros. O trabalho visa, também, discutir se havia ou não uma relação hierárquica entre grupos de músicos, e seus respectivos instrumentos (tocadores de antaras, quenas, tambores, chocalhos etc.) que reflita o status político-religioso de suas especializações. Foram analisados, além dos dados iconográficos, contextos e padrões funerários relacionados às estruturas de poder mochicas escavados nas últimas três décadas. / This research intends to survey and analyze Moche ceramic artifacts depicting characters associated to sound instruments (aerophones, membranophones and idiophones2). We search in these musicians attributes and features that identify them as political-religious power figures. The main goal of the research is to comprehend how these musicians were inserted in the moche power structures, and their relationship with the elites of the Middle Moche Period, marked by the ascension of political groups from the valleys south of Jequetepeque. In this context many musicians arise in moche ritual ceramic`s iconography holding the attributes of high status individuals, like the Nocturnal Lord, the Solar Lord, the Coca Taker, among others. We also intend to discuss if there was a hierarchical relationship between different categories of musicians and their respective instruments (panpipe players, quena players, drum players, rattle players etc.), which reflect their political-religious status. Besides iconographic data, funerary contexts related to the Moche power structures excavated in the last three decades were also analyzed.

No description available.

Esta pesquisa pretende realizar um mapeamento e análise de artefatos cerâmicos da cultura Mochica que contenham personagens que tocam instrumentos sonoros (aerofones, membranofones e idiofones1) com vistas a encontrar nesses \"músicos\" atributos e características que os identificam como figuras que concentram poder político-religioso. O objetivo geral da pesquisa é compreender se haveria um espaço de atuação específico para os músicos nas estruturas de poder mochicas, bem como a relação dos mesmos com as elites durante o período Moche Médio. Este período foi marcado pela ascensão das elites dos vales mochicas ao sul de Jequetepeque, contexto em que surgem, na iconografia da cerâmica ritual arqueológica, muitos músicos portando atributos de indivíduos de elevado status social, como o o Senhor Noturno, o Senhor Solar e o Tomador de Coca, entre outros. O trabalho visa, também, discutir se havia ou não uma relação hierárquica entre grupos de músicos, e seus respectivos instrumentos (tocadores de antaras, quenas, tambores, chocalhos etc.) que reflita o status político-religioso de suas especializações. Foram analisados, além dos dados iconográficos, contextos e padrões funerários relacionados às estruturas de poder mochicas escavados nas últimas três décadas. / This research intends to survey and analyze Moche ceramic artifacts depicting characters associated to sound instruments (aerophones, membranophones and idiophones2). We search in these musicians attributes and features that identify them as political-religious power figures. The main goal of the research is to comprehend how these musicians were inserted in the moche power structures, and their relationship with the elites of the Middle Moche Period, marked by the ascension of political groups from the valleys south of Jequetepeque. In this context many musicians arise in moche ritual ceramic`s iconography holding the attributes of high status individuals, like the Nocturnal Lord, the Solar Lord, the Coca Taker, among others. We also intend to discuss if there was a hierarchical relationship between different categories of musicians and their respective instruments (panpipe players, quena players, drum players, rattle players etc.), which reflect their political-religious status. Besides iconographic data, funerary contexts related to the Moche power structures excavated in the last three decades were also analyzed.

This dissertation explores a cross-cultural analysis of the dietary signatures of four coastal cultures of prehistoric Peru. A combination of elemental analysis based on portable x-ray fluorescence spectrometry (pXRF), testing trace elements presented in 209 individuals’ skulls representing the Nazca (38), Cañete (33), Lima (40), and Moche (98) valleys and/or cultures of the first millennium AD, is weighed in conjunction with isotope ratio mass spectrometry (IRMS) to analyze human bone collagen and bone apatite derived from a portion of the individuals represented in the Nazca, Cañete, and Lima cranial samples. Evidence from the results of both tests are weighed using descriptive statistics supported with bivariate correlations and linear regression to determine that the pXRF data on the trace elements strontium (Sr), barium (Ba), and iron (Fe) from the Moche collection do present potential for accurately portraying diet of those individuals represented in this sample. Additional hypotheses tested include potential for preferential diets based on sex, age, and status as well as attempting to place the valley of Cañete in the cultural sphere of either Lima or Nasca during the Early Intermediate Period. While there was no significant statistical difference in diet based on age in any of the individual valley datasets, there was one valley, Nazca, which showed a considerable variation in diet based on sex. From data derived from this particular sample set, there are mixed results in attempting to apply status to a diet of preferential high nitrogen sources such as marine mammals and large fish. In attempting to place Cañete in the cultural sphere of either Lima or Nasca, it was determined that cultural remains appear to be linked predominately to artifacts and practices of the Lima Culture, but the dietary difference in both stable isotope and trace elements signatures combined with the samples which instead aligned more closely with the Nasca Culture suggests that perhaps Cañete was a marginal space which allowed for the settlement and interaction of peoples from both neighboring cultures without prejudice. Overall, results indicate it would be premature to suggest pXRF replace destructive analysis in determination of diet. Due to the small sample size of stable isotopes deemed viable in testing, it is suggested that a larger sample of stable isotopes should be considered in similar testing and that the major elements from pXRF should also be used before a suggestion that destructive analysis was no longer warranted in many cases for deducing diet in ancient populations.