The Late Intermediate Period Ceramic Traditions of Ayacucho, Apurimac, and Huancavelica: Current Thoughts on the Chanca and Other Regional Polities

Ñawpa Pacha Journal of Andean Archaeology

ISSN: 0077-6297 (Print) 2051-6207 (Online) Journal homepage: http://www.tandfonline.com/loi/ynaw20

The Late Intermediate Period ceramic traditions of Ayacucho, Apurimac, and Huancavelica: current thoughts on the Chanca and other regional polities

Frank Meddens & Cirilo Vivanco Pomacanchari

To cite this article: Frank Meddens & Cirilo Vivanco Pomacanchari (2018): The Late Intermediate Period ceramic traditions of Ayacucho, Apurimac, and Huancavelica: current thoughts on the Chanca and other regional polities, Ñawpa Pacha, DOI: 10.1080/00776297.2018.1436653 To link to this article: https://doi.org/10.1080/00776297.2018.1436653

Published online: 02 Apr 2018.

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Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=ynaw20 THE LATE INTERMEDIATE PERIOD CERAMIC TRADITIONS OF AYACUCHO, APURIMAC, AND HUANCAVELICA: CURRENT THOUGHTS ON THE CHANCA AND OTHER REGIONAL POLITIES

Frank Meddens and Cirilo Vivanco Pomacanchari

This article serves to evaluate the Late Intermediate Period (LIP) and early Late Horizon Period (LH) ceramic traditions of Ayacucho, Apurimac, and Huancavelica, and provides an updated review of the pottery styles known across this area. It also provides a view of the implications of these data regarding the social, religious, and political structure of the polities active across this area. The article reviews the available ceramic data for the LIP Chanka tradition in Peru (AD 1000–1470) and develops a model for the development and interactions of the local ceramic styles from Ayacucho, Apurimac, and Huancavelica, and their temporal sequence. The Chancas and their allies were claimed by the Incas to have been instrumental in triggering the expansion of the Inca empire. The implications of the results of the research for current ethnohistoric models of the interactions between the Chanca polity and the Inca state have been examined and are presented.

Este artículo sirviera para reevaluar las tradiciones cerámicas para el Periodo Intermedio Tardío y inicios del Horizonte tardío de Ayacucho, Apurímac, y Ayacucho y presenta una visiona actual de los estilos de cerámica atreves de esta región. Asimismo presentamos una visión de lo que signiﬁcan estos datos para las estructuras sociales, religiosas y políticas de los grupos presentes. Revisamos las informaciones disponibles sobre la tradición Chanca en el Perú (1000–1470 d.C.) y desarrollamos un modelo de las interacciones entre los estilos de cerámica locales de Ayacucho, Apurímac, y Huancavelica y su exposición temporal. Los Incas indicaban que Los Chancas fueron en parte responsables por el iniciar de Imperio Inca. Se revisa los resultados de nuestras investigaciones por lo que implica para los modelos corrientes etnohistóricos de las interacciones entre el grupo Chanca y el estado Inca.

he Chanca have long played a prominent role in portrayed as a real and considerable threat to the sur- Tthe presentations of Inca “historical” narratives. vival of the early Inca state. The Chanca wars are pre- Not only do the Chanca as an ethnic group ﬁgure sented as pivotal to the successful growth of the Inca large in these stories as dangerous and powerful empire and a justiﬁcation for its expansionist policies rivals and enemies of the Inca, but their presence is (Polo de Ondegardo 1916–17 [1571]: III:50). The

Frank Meddens, Pre-Construct Archaeology Ltd, London, UK ([email protected]) Cirilo Vivanco Pomacanchari, Facultad de Ciencies Sociales, Universidad de Huamanga, Ayacucho, Peru ([email protected])

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region traditionally attributed as the homeland of the them (Cabello Valboa 1951 [1586]: 298–304; Chanca polity is that of the present province of Cieza de León 1967 [1553]: 123–132; Garcilaso de Andahuaylas in the department of Apurimac (Bauer la Vega 1721 [1609]: 151–155; Guáman Poma de et al. 2010: 17; Julien 2002). This zone is situated Ayala 1980 [1583–1615]: 66; Pachacuti Yamqui in the southern highlands of Peru in an area of high Salcamaygua 1993 [1613]: 217–221; Sarmiento de altitude pasture land intercut by fertile intermontane Gamboa 1988 [1572]: 86–97). In truth, little of valleys, which continue to be used for the cultivation this can be historically or archaeologically of traditional Andean crops such as maize and quinoa substantiated.2 as well as European introductions and the herding of camelids, cattle, and sheep. The early Spanish chroniclers recorded information Ethnohistorical Contexts about the Chancas from Inca oral traditions. These stories describe events occurring more than a Contemporary scholars have either interpreted the century before the Spaniards’ arrival in the Andes, accounts as reflecting historical events which took taking place during the reign of the Inca Viracocha. place at the dawn of Inca expansion (Hyland 2010: We are told the Chanca polity, under the leadership 5–6; Rowe 1946: 189), or as describing more mythi- of Hastu Huaraca and Tomay Huaraca, together cal than real proceedings (Bauer 2004; Bauer et al. with their deity Uscovilca, invaded Inca territory 2010; Meddens and Vivanco Pomacanchari 2005: and demanded the reigning Inca Viracocha’s sub- 73–99). Other interpretations see the occurrences as mission. Viracocha and a favored son Urco escaped reflecting earlier conflicts during the Middle to the Calca area north of Cuzco, while one of the Horizon (MH), such as the Wari withdrawal from Inca’s younger sons Inca Yupanqui stayed in Cuzco Cuzco (Zuidema 1989 [1967]: 204–211), which and organized its defense with a collection of the Incas would have attributed to themselves to friends and allies such as the Aymaraes and enhance their reputation. Cotapampas. In the prelude leading up to warfare, According to early colonial documentary sources, Inca Yupanqui had a vision of the sun god Apu the home territory of the Chanca was centered on Viracocha Pachayachachic predicting his success in the Andahuaylas region in the present-day depart- the forthcoming battle. In the combat that ensued, ment of Apurimac (Bauer et al. 2010; Gomez the stones on the battlefield ( pururauca) turned into Choque 2008; Julien 2002; Kellett 2010; Kurin warriors and joined the fight on Inca Yupanqui’s 2016). Less convincingly, Gonzales Carré and col- side,1 and the Chanca force was defeated. Following leagues have proposed the provinces of Huamanga, this encounter, the remaining Chancas are said to Cangallo, and Andahuaylas as the zone where the have regrouped outside of the city of Cuzco on the Hanan and Hurin Chanca polities were historically plain of Ichupampa, but here too Inca forces soon located (González Carré 1992:89–90; González overwhelmed them. Inca Yupanqui had the skulls of Carré and Pineda 1983: 101). The latter authors the Chanca leaders turned into drinking vessels and also include the Late Intermediate Period (LIP) com- their skins into drums. When the Spaniards later munities across much of Huancavelica, Ayacucho, saw the ancient battlefield, the remains of the and Apurimac—particularly the area along the Rio Chanca fallen were said to be found there still Pampas and its tributaries—as part of a culturally (Betanzos 1987 [1551]: 32–33). Inca Yupanqui even- unified Chancas entity, suggesting that these ethni- tually became the ruler Pachacuti—“he who inverts cally diverse groups formed a Chanca “associated” time and space”—who reorganized the city of or “derived” aggregate. In contrast, we view the Cuzco and its social structure and initiated the ethnic historic Chanca as being distinct from the Incas’ imperial expansion. Many versions of the other indigenous communities across the region. As story exist with mythical elements embedded in will become clear, the material culture in the early

2 Meddens and Vivanco Pomacanchari: The LIP ceramic traditions of Ayacucho, Apurimac, and Huancavelica

LIP (LIP1) is far more variable than previously Chanca nation during the colonial period (Bauer reported, albeit that there is a distinct tendency for et al. 2010; Hyland 2010, 2016; Julien 2002). blending of the material culture in the later LIP Colonial sources confirm that, under Inca rule, the (LIP2). Within this context, LIP2 ethnohistoric Chanca ethnic group consisted of ten ayllus,of source material indicates the continued existence of which five belonged to the Upper (Hanan) Chanca many distinct cultural and political groupings. moiety (consisting of the Guasco, Malma, Apes, As will become clear, the Chanca as an identifiable Moros, and Pachacaruas), and five to the Lower polity can be recognized as having existed from the (Hurin) Chanca moiety involving the Guachaca, LIP through to colonial times (Bauer et al. 2010; Tomay Guaraca, Quichua, Caha, and Yana (Hyland Hyland 2010, 2016). The following discussion pre- 2010:7–8). In early colonial times, the Chanca heart- sents and defines the ceramic component in archaeolo- land extended across an area from Yanama in the east, gical assemblages across the departments of Ayacucho, to Ongoy in the north and Cachi in the west, with Huancavelica, and Apurimac during the LIP (AD Pampachiri and Umamarca in the Chicha valley 1000–1400) and the Late Horizon Period (LH) (AD forming the southern-most limit with the adjoining 1400–1532), and establishes how this archaeological Aymara territory (Hyland 2010:9–10). The two moi- evidence supports or contradicts the ethnohistoric evi- eties making up the Chanca group—the Hanan dence regarding the Chanca and their neighbors. This Chanca and Hurin Chanca—may equate to the analysis builds on earlier work done by the authors and late-seventeenth-century Chancas of the Puna and by other scholars who have been active across these the Chancas of the valley divisions, mentioned in a departments over the preceding 90 years (e.g., Arco colonial visita of 1684 (Bauer et al. 2010: 42; cf. Parro 1923; Bauer et al. 2010; Carrera et al. 2014 Duvoils 1973). This document suggests the Hurin [1945–1946]; González Carré 1992; González Carré Chanca occupied the northern part of the territory et al. 1987; Lumbreras 1959; Meddens and Vivanco while the Hanan Chanca were distributed across the Pomacanchari 2005; Valdez 2002; Valdez and southern sector of the region (Bauer et al. 2010:40– Vivanco 1994; Zuidema 1989 [1967]). 43, Figure 5.2). West of the Chancas, the Soras were The ceramic assemblages discussed below come the local ethnic group in the Lucanas3 region (de from a wide range of sources. Some are from well- Monzón 1965 [1586]) and, to the east, the Aymaras recorded pottery assemblages, derived from controlled (Guáman Poma de Ayala 1980 [1583–1615]: 58, excavations and surface collections held in museums 74), with the latter being a group of mitimaes probably or under the care of local archaeologists. Other having been introduced by the Inca (Figure 1). materials come from private, local council, and A very early colonial land grant, dating to 1539 by school collections, for which limited provenience Francisco Pizarro, concerning a significant sector of information is available. In these cases, summary what is now the department of Apurimac as well as information on the material has been recorded and, the Quichuas of Vicaporo, is of considerable impor- where of sufficient interest, the objects were photo- tance to our understanding of the distribution of graphed. Finally, there is information from published the late prehispanic and early historic/colonial literature as well as the “grey literature,” largely com- Chanca population in Andahuaylas. The earliest avail- prising unpublished student dissertations. Because able record of this document dates to 1561 and was the conclusions that can be confidently derived transcribed by Julien (2002). It is referenced here to from these diverse sources vary, we provide details clarify the periphery of the Chanca with the Soras ter- concerning the origins of our data sets throughout ritory in the one area for the later LH and early colo- this work. nial period for which we have significant ceramic data Archival research has been instrumental in revealing to include in this timeframe. The document refer- detailed information on the social structure, kin ences 63 pre-reducción settlements and their kurakas relationships, demography, and history of the or leaders in the 1570s, reduced to 13 doctrinas or

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Figure 1. Distribution of principal LIP and LH ethnic groups across Ayacucho, Apurimac, and Huancavelica. © F. Meddens.

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6 Meddens and Vivanco Pomacanchari: The LIP ceramic traditions of Ayacucho, Apurimac, and Huancavelica

parishes under an administrative initiative of the-then authority of Guamanga, were subdivided into three viceroy Francisco de Toledo (Julien 2002).4 sections: Anansoras, Lurin Sora, and Chalcos, of which San Bartolomé de Atunsora represented the principal settlement. This territory, other than the Ethnic Divisions across the latter town, included a further 14 villages occupied Departments of Huancavelica, by people who considered themselves Soras Ayacucho, and Apurimac: A Synopsis (Meddens 2016). The repartimiento and parish of Atunrucana and Laramati, and encomienda of Don This summary of the population of the three depart- Pedro de Cordova, under the jurisdiction of ments considered does not purport to be comprehen- Guamanga, were divided between two ayllus, sive or all-encompassing, but provides a rapid review namely Ananrucana and Lurinrucana. The resident of the curazgos present at the end of the LH and groups were presided over by the principal kuraka of into the early colonial period. The objective of this the Anarucana and his “segunda persona” who was exercise is to facilitate, where possible, an understand- charged with the administration of the Lurinrucana. ing of the pottery families’ distributions for the later The capital here was San Francisco de Atunrucana, prehistoric and proto-historic periods with the with some 22 villages (Meddens 2016). The principal known or projected ethnic divisions. settlement of the repartimiento and crown estate of Ayacucho by 1586 was under the Spanish colonial the Rucanas Antamarcas was the town of La authority of Huamanga (Jimenez de la Espada 1965 Concepción de Huallapampa de Apcara, also under [1881]: 176–248). There were 33 encomienda the authority of Guamanga. The population of grants, spread over eight provinces or corregimientos Rucanas Antamarcas was made up of four ayllus: with 259 reducción villages. This territory included Antamarca, Apcara, Omapacha, and Huchucayllo. parts of the present-day departments of The capital of this region was Antamarca, the inhabi- Huancavelica, Guamanga, Apurimac, and Nasca. tants of which, following the demographic reorganiz- The six provinces detailed in the Relaciones ation of the region, were concentrated in the town of Geográficas de Indias comprise Guamanga, Vilcas La Vera Cruz de Cabana. A total of 10 settlements Guaman, Angaraes, Atunsora, San Francisco de were under its administration (Meddens 2016). Atunrucana y Laramati, and Rucanas Antamarcas These early colonial ethnic territories constitute a (Jimenez de la Espada 1965 [1881]: 176–248). fair reflection of the LH territorial divisions. The Angaraes largely covered a territory in the present study region is characterized by several large areas department of Huancavelica. Its administrative with resident populations of some considerable long- center was Acobamba with the inhabitants distributed evity and size. These include the Rucanas, Soras, across 21 settlements. The population included Chanca, and Angareas. Similarly, there were Chancas from Andahuaylas, mitimaes from occasional large regions occupied by substantial Caxamarca or Angaraes, Quiguares from Cusco, mitimae groups, such as the Aymara in Apurimac. Guaros from Guarochiri or Angaraes Astos, and In addition, there was a considerable intermingling Angaraes or Angaraes Chácas (Meddens 2016). For with smaller mitimae communities, particularly in the region that was part of the province and jurisdic- northern Ayacucho (Meddens 2016). tion of Vilcashuaman, there are a total of 60 settlements listed in the Relaciones Geograficas de Indias. The population here exclusively comprised mitimaes, Chanca and Chanca-related Ceramic except for the parish of Guanpalpa, which was inhab- Traditions and Antecedents ited by Tanquiguas, a group of local origin (Meddens 2016). The repartimento of Atunsora and encomienda The existing body of research and corpus of material is of Hernando Palomino, which came under the reviewed here prior to the presentation of newly

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analyzed data. The examination of these data and the motifs, wavy lines, circles enclosing centrally placed regional assemblages contributes to our understand- crosses, crescent shapes (Figure 4) (42), comb-like ing of the spread, structure, and nature of the shapes, and rhomboid motifs, with designs being fre- pottery traditions and ethnic groups distributed quently outlined in white or black. Figurative shapes across the research area in the period preceding and and designs including felines and anthropomorphic leading up to Inca rule. variants occur occasionally, and a significant size range is represented from miniature to very large (vessels as tall as 1.2 m with rim diameters of 40 to The Huamanga Style 65 cm) (Benavides Calle 1984:84–85). The designs are commonly executed on an orange body and The predecessor to the LIP ceramic styles within Ayacucho and the adjoining departments of Apurimac and Huancavelica has been consistently identified as the Huamanga style (Bauer et al. 2010; González Carré et al. 1987; Lumbreras 1974; Meddens 1985; Ochatoma Paravicino and Cabrera Romero 2001). The Huamanga style comprises incurving vessels (Figure 2), necked jars, plates, bowls, face neck jars, cups, spoons, and figurines (Figure 3). It has been attributed to the MH, disap- pearing at around the time of the end of Wari territorial control. This ceramic component has been interpreted as a domestic-use variant of the Wari pottery tradition. Lumbreras (1958: 88) labels Huamanga as the local Wari style, while Menzel (1968: 92) references it as “Secular Viñaque.” The painted decorative design motifs comprise a range of geometric patterns, including vertical or oblique bands, stepped, triangular, and S-shaped

Figure 3. Huamanga-style MH2 ﬁgurine—MH offering deposit [LU5 751–205], Chiqna Jota. © F. Meddens.

Figure 2. Huamanga-style MH2 incurving bowl with knob on side wall MH offering deposit [LU5 739-SF 128], Chiqna Jota. Figure 4. Huamanga-style MH2 tripod bowl with interior © F. Meddens. crescent design (42) [LU5 733–25]. © F. Meddens.

8 Meddens and Vivanco Pomacanchari: The LIP ceramic traditions of Ayacucho, Apurimac, and Huancavelica

paste (Benavides Calle 1984:83–87; Lumbreras Huamanga components to settlements with Chanca-/ 1974; Ravines 2011: 487). The pottery was Chicha-style ceramics, which they suggest occurred modeled and thrown on a slow wheel and the non- between AD 1000 and 1100 (Bauer and Kellett plastic inclusions encompass feldspar as well as 2010:87–111). The LIP Chanca- and Chicha-style5 minor proportions of quartz and mica. There is affinity with certain elements of Viñaque designs and some evidence for the use of organics and fine sand forms can be detected in some of the cup forms and as a filler, as well as the presence of vascular voids. associated painted motifs present and are discussed Firing in both oxidizing and reducing atmospheres further below (Meddens 1985). has been identified (Ochatoma Paravicino and Cabrera Romero 2001: 153–157). Ochatoma and Cabrera note variation in the frequency of specific Late Intermediate Period Assemblages Huamanga design motifs which can be observed between sites, such as a tendency for “plumed Archaeologically, the most visible aspects for the LIP wing” designs dominating at Orqo Wayqo, while societies in the research area are the remains of its stepped motifs are more representative at architectural, ceramic, and funerary traditions. The Conchopata. These authors attribute such differences pottery styles for the LIP and LH across Ayacucho, to ethnic and social differentiation as well as the work- Apurimac, and parts of Huancavelica have been ings of distinct workshops (Ochatoma Paravicino and broadly linked with the Chanca nation (González Cabrera Romero 2001: 153–157). Carré et al. 1987). This approach is questionable as A 2007 project, which resulted in a large group of the area covered is known to have been inhabited C14 dates from organic materials directly associated by a wide range of ethnic groups other than the with Huamanga-style products, produced a wider Chanca during these periods (Bauer et al. 2010). In temporal range than anticipated, well beyond the their 1980s study of LIP and LH ceramics, timing of Wari’s projected terminal phase at the González Carré and colleagues associated the end of the ninth century and extending into the ceramic traditions with the Chanca nation; their late-thirteenth century (Finucane et al. 2007). The study was largely based on the collections of the- samples came from secure contexts from the site of then Instituto Nacional de Cultura in Ayacucho Huari itself, and also from Azangaro, Posoqoypata, and from the ceramic laboratory of the Universidad and Qasapampa in the Huarpa valley. What are Nacional de San Cristobal de Huamanga. This termed “Chanca-style” ceramics from burial contexts work is of considerable importance as it is the first at Qollana and Vegachayoq Moqo at Huari in the to be based on a systematic approach to data analysis Ayacucho valley were dated to as late as the thirteenth across the region. Additionally, several short reviews of century (Finucane et al. 2007). Ceramic distribution this same material have been published (González data from some 30 sites across the various altitude Carré 1992; Ravines 2011). ranges around the Ayacucho valley confirm continuity As already noted, during the LIP and LH, the of a local variant of the Huamanga style well into the research area was occupied by a diverse range of LIP (Pérez Calderón 2013: 165). ethnic groups including the Andamarcas, Aymaraes, There exists a significant range of variability in the Chancas, Rucanas, and Soras, as well as populations quality of vessel execution and standardization (or of mitimaes. In the past, these have been loosely and lack of it) in the design motifs that the style employs. inadequately referenced as the Chanca This may be the result of regional and/or temporal Confederation, a varying alliance of insecurely linked differences among the examples of the materials that social groups that perhaps only coalesced during have been brought to light to date. In the times of sufficient external threat (Bauer et al. 2010; Andahuaylas area, Bauer and Kellett detect a distinct González Carré 1992; Lumbreras 1974; Meddens shift from MH sites associated with Viñaque and and Vivanco Pomacanchari 2005). The Chanca

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Confederation is most explicitly commented on in groups present across these three departments. Garcilaso de la Vega (1723 [1609]: part 1, book 4, Detailed definitions and understanding of these chapter 15), who states that the allied Chanca polities ceramic assemblages have direct implications for included the Hancohuallas, the Unanmarcas, the interpretations of the Chanca tradition and how it Vilcas, and the Utunsullas. These were distributed in interacted with its neighbors and rivals. that order from east to west from the edge of Chanca territory in Apurimac to the vicinity of the present city of Ayacucho (Bauer et al. 2010:26–27). The Ceramic Traditions The limited social complexity of these groups, which There are notable issues with respect to the analysis included a noticeable absence of social and political of contemporaneous ceramic traditions within any hierarchy and an elite throughout the LIP (Meddens circumscribed area. These tend to include overlap- 2011), would have resulted in their being unable to ping characteristics between styles in vessel forms, unite an integrated political structure on any large paste types, and decorative motifs. Where several dis- scale. Similarly, the small Chanca polity centered on tinct styles are identified, it is frequently difficult to the Andahuaylas area did not reflect a state level of pol- establish within existing data sets where a particular itical cohesion or organization at any time during the characteristic originated and what its occurrence LIP (Bauer et al. 2010; Meddens 2011). across a set of defined styles signifies (Chilton Data from 139 LIP sites have been collated to facili- 1999: 100). Not surprisingly, such is the case here. tate our understanding of the distribution of LIP sites It has been possible to flag and define some of the across the departments of Ayacucho, Apurimac, and Huancavelica. The data for these sites are incomplete. relationships and the nature of the interactions Although a confident LIP attribution can be made involved (see below); however, much remains based on surface material (architecture and material obscure. Likewise, overlapping design elements culture) for many of these sites, the ceramic associations were found in the LIP Killke and Colcha styles of are not diagnostic enough to assign them to the specific the adjoining Cusco area (Bauer 1999: 30). LIP1 and LIP2 styles discussed in this article (Figure 5). Indeed, such stylistic relatedness is a common characteristic for the period elsewhere in Peru, such The LIP sites appear to be spread along the river valleys as around Lake Titicaca and further south (Stanish across the department of Huancavelica, the northern et al. 1997). part of Ayacucho (with a few in the central sector and two in the far south), and the northern and western parts of Apurimac; however, the lack of archaeological Tanta Orqo Ceramics research in some regions has resulted in gaps in our knowledge. Although the great majority of these sites The Tanta Orqo ceramic style, as defined by are in the highlands, apparently most were situated in González Carré et al. (1987), includes open bowls, locations that facilitated access to multiple environ- incurving bowls with animal lug protrusions, mental zones. These have been defined by Tosi beaker forms, and jar variants, which incorporate (1960), being broadly based on altitudinal, vegeta- face neck jar types. Decorative motifs used are tional, and climatological differences. Along the north- painted in white, black, gray, brown, and red, and ern and southern limits of this territory there are sites comprise zig-zag, wavy line, and oval designs with access to tropical rainforest and desert shrubland, (Figure 6). These have origins in the earlier Wari respectively. styles, particularly the Huamanga material, although Because ceramics are the most durable cultural arti- they are more casual in execution and rougher in facts in the region, the characteristics and distri- appearance. A second group of decorative elements butions of the LIP ceramic styles potentially comprises solid modeled lugs and knobs with illuminate the cultural development of the ethnic incised lines and dot and circle features in alignments

10 Meddens and Vivanco Pomacanchari: The LIP ceramic traditions of Ayacucho, Apurimac, and Huancavelica

Figure 5. LIP site distribution. © F. Meddens. or grouped on the protuberances. The style is found Following González Carré et al., Tanta Orqo pastes in association with Qachisqo and Arqalla material in the original typology are described as compact and but not with Inca-style LH ceramics or sites ranging in color from brown to yellow-red and red (González Carré et al. 1987: 39). (oxidized), with medium white and black inclusions

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González Carré notes a circumscribed distribution for Tanta Orqo assemblages, with this material being found in Huancavelica, in the Huanta region in Ayacucho, and on the eastern jungle slopes of the Andes in Ayacucho, in the La Mar province, markedly in the area of Caballayuc (González Carré et al. 1987: 39). Similar material, variously described as Chanca, Chicha, and Toqsa, also has been found in the Lucanas region of Ayacucho and across the western side of the department of Apurimac (see below).

Chanca, Chicha, and Toqsa Ceramics

The Chanca style as described by Bauer et al. (2010) and Kellett (2010) comprises bowls including an incurving variant, small jars, storage vessels, and drinking cups. It has a light-colored, medium-coarse paste and medium hardness, with quartz, basalt, Figure 6. Tanta Orqo-style/Koras-style LIP1 variant B jar with and andesite inclusions, and poorly executed linear four feet and oval-based exterior design [LAB AQ 217/UNSCH and geometric designs (Bauer et al. 2010: 173–179; A08]. © F. Meddens. Kellett 2010: 387). The decorative motifs are executed in dull colors (Kellett 2010: 396) and exhibit from 0.5 to 2 mm in diameter (González Carré et al. temporal similarities (particularly in the use of 1987:41–42). Vessel forms include incurving bowls, cross-hatched designs) with the LIP Killke tradition neckless ollas, necked jars—including short neck, face of the Cuzco region (Bauer 1999; Kellett 2010: neck, and tapered neck jars with a smaller diameter at 396–397). This material groups together ceramics the rim than the neck—as well as open bowls. There that have been included in pottery previously are linear, geometric, oval, and plastic designs. The defined as the Chicha style (Meddens 1985) with cer- presence of animal lug incurving bowls (Figure 7) amics defined as Tanta Orqo by González Carré et al. from the Lucanas, Apurimac, and Vilcashuaman (1987). Elements of these pottery styles have been regions, and a four-footed short neck jar form from recognized in the general Apurimac area (González Koras (Figure 6) in the department of Carré et al. 1987; Kellett 2010; Kurin 2016; Huancavelica, indicate that this ceramic material Meddens 1985, 1994). The Chicha style encom- included several regional subgroups and that it passes among its forms simple incurving bowls, requires further classification to develop it as a repre- animal lug incurving bowls (Figure 7), face neck sentative series of regional styles. Because of its (Figure 8) and short neck jars. A relatively large pro- ceramic associations, such as its occurrence without portion (c. 10 percent) has painted decoration. Inca-related materials, as well as its associations with At least some of the designs appear to be derived Huamanga- or Wari-style ceramics (González Carré from earlier Viñaque (Figures 9 and 10) and et al. 1987; Kellett 2010: 397; Meddens 1991), Huamanga antecedents. As previously noted, cross- and its stratigraphic relationships such as were hatched as well as a range of other geometric motifs encountered in excavations in the Chicha valley are present (Bauer et al. 2010: 173–179; Kellett (Meddens 1985, 1991, 2011), this material can be 2010: 396–417, 437–449; Meddens 1985: 214). confidently placed in the earlier part of LIP1. Red lines on the rims of drinking vessels, and outlined

14 Meddens and Vivanco Pomacanchari: The LIP ceramic traditions of Ayacucho, Apurimac, and Huancavelica

Figure 7. Chicha-style animal lug incurving bowl (19), exterior design (28), LIP1 [LU5 704–326]. © F. Meddens.

Figure 9. Viñaque-style MH2 beaker variants (12, 13), feather design (8) [LU5 1322–39; LU5 739–154]. © F. Meddens.

Figure 8. Chicha-style face neck jar (56), exterior design (3), LIP1, Chiqna Jota [LU5 704–612]. © F. Meddens. wavy line designs on open bowls, constitute direct continuity from the preceding Huamanga material (Kellett 2010: 397). Common designs comprise thick-lined horizontally-placed rectangles subdivided into smaller boxes with centrally placed horizontal bar ﬁllers (Figure 11). Oval-based designs are common, on the exterior of bowls and beakers, and Figure 10. Chicha-style molded face beaker (15) LIP1 (band on the main body of jars in bands placed in vertical design and molded face) (140) [LU5 1208–2]. © F. Meddens.

15 Ñawpa Pacha: Journal of Andean Archaeology

Figure 11. Chicha-style beaker (8) LIP1 with banded rectilinear grid with bar ﬁllers (2) [LU5 705–69]. © F. Meddens.

Figure 13. Qachisqo-style face neck jar LIP1 [LAB AQ 278]. © rows or horizontally (Figure 12) (Meddens 1984: F. Meddens. 144, Figure 6, 1985: 359, Figure 97). Vertical lines or ticks on the lips of vessels are also noted. a slip covered in a creamy color. Most of the decorative elements comprise modeled and plastic appliqué, Qachisqo Ceramics frequently with incised elements. These tend to be located on the necks of jars, forming parts of coarsely Qachisqo-style ceramics include a range of tapering and thickly modeled faces (Figure 13), as well as neck jars with diameters greater at the neck than at many decorated lug and knob elements like those the rim, frequent pairs of small vertically placed found in the Tanta Orqo material. The Qachisqo strap handles are found on the shoulders of these assemblages are found in Huancavelica and in the vessels, and open bowls are known (González Carré Department of Ayacucho in the areas of Socos, et al. 1987). Surfaces are roughly smoothed or have Vinchos, Huanta, and Tambo, as well as having been noted in Andahuaylas (Gomez Choque 2008). This material is commonly found with Tanta Orqo and Arqalla objects.

Arqalla Ceramics

Arqalla vessel shapes include variants of jar forms with a straight or sometimes tapering (converging) neck, everted rim and rounded lip, globular body, and rounded to pointed bases (Figure 14). Occasionally they have strap handles placed above the widest diameter of the body, and jars can be found with small modeled and sometimes protruding lugs, which are frequently incised. There are also a range of simple ﬂ Figure 12. Chicha-style beaker (14) LIP1 with horizontal plate and open bowl forms with at and rounded banded wavy line and oval designs (86, 11) [LU5 1308-SF273]. bases. Decoration, which is rare, includes incised © F. Meddens. anthropomorphic faces on jar necks, parallel bands

16 Meddens and Vivanco Pomacanchari: The LIP ceramic traditions of Ayacucho, Apurimac, and Huancavelica

Figure 14. Arqalla small-sized jar LIP2 [MRHU 384/INC-R- 05; RN 82 040]. © F. Meddens. of short vertical incised lines as well as unevenly executed red painted vertical linear, undulating, and zig- Figure 15. Soras-style face neck jar (56) LIP2 from Chicha Jasa [AP2–7 456–17/27]. © F. Meddens. zag designs. Arqalla ceramics are found across much of Ayacucho, Huancavelica, and Apurimac. This material Aya Orqo Ceramics can be found together with both local provincial Inca as well as more formal imported Inca-style products. It Aya Orqo vessel shapes include convex- to flat-based constitutes the most clearly defined and most widely open bowls with vessel walls trending to the distributed regional style for LIP 2. The various jar var- concave. Straight and tapering necked jars with iants with tapering necks, characterized by narrower everted lips, rounded bodies, and vertically placed rim than neck diameters, rounded to pointed bases, strap handles, with flattened or rounded to blunt and multiple vertical strap handles of various sizes, con- pointed bases are common. Face neck jar variants stitute the commonest style marker. This material is are also present among this material (Figure 15; hand-modeled, frequently in a mid-brown reduced González Carré et al. 1987: 102 top right). paste and often with mica inclusions. Overall, these Miniature or reduced size forms are found as are ceramics are not highly fired, they are sloppily exe- cups and aryballo derived forms (González Carré cuted, and include large numbers of smaller sized 1992; González Carré et al. 1987; Valdez 2002). and miniature variants. There appears to be a trend The surfaces of these vessels are smoothed and can towards slightly larger vessel sizes and a reddish slip have a red slip. Decorative painted motives include or wash for this material for the department of roughly executed black, purple, and brown linear Huancavelica. The former variant of the style is here designs, sometimes in lattice variants (hereafter Aya referenced as Arqalla A. From the large numbers of Orqo variant A). These designs largely feature on complete vessels known and from the recognized the exterior of vessel walls. A few modeled and archaeological associations as far as these are under- incised plastic examples comprising anthropomorphic stood (Bauer et al. 2010; Kellett 2010; Kurin 2016; faces and camelid heads are known. Meddens 1994), the most frequent connections for Aya Orqo occurs infrequently, has a limited distri- these vessels are with burials and offering deposits bution, and is known from Huanta, Cangallo, Victor (Kurin 2016; Meddens 1994). Fajardo, Parinacochas, and Andahuaylas (Gomez

17 Ñawpa Pacha: Journal of Andean Archaeology

Choque 2008; González Carré et al. 1987; Valdez 2002). Some of its pastes and shapes have similarities with local variations on Inca-style material. In the Chicha valley, numerous stylistic elements appear to equate with the pottery group deﬁned as Soras (Meddens 1985).

Soras Ceramics

The Soras style in the Chicha/Soras valley constitutes a significant change from the earlier Chicha material. Figure 17. Soras-style overfired pottery. © F. Meddens. This pottery is characterized by smudged yellow- brown wares (Figure 16). Little is decorated and the is overfired, cindered, and sometimes has cindered few painted designs are very careless in their execution, and blistered glassy surfaces (Figure 17), or is associated comprising undulating lines of varying width as well as with such pastes (Meddens 1985:227).Thelatter some dot or irregular splotch designs occasionally in appears identical to high-firedgraywaresnotedfor irregular linear bands or cross-hatched motifs. Some the Sondondo area present there in the Marke, plastic decoration occurs comprising roughly modeled Toqse, and Jasapata assemblages. Its occurrence in the faces with pronounced lower lips or chin features Chicha/Soras area appears to be a late phenomenon. (Figure 15). A noticeable proportion of this material The Soras style is found together with Arqalla- and Inca-style material, with the latter including both locally made variants and imported classic imperial material. Specific design elements and vessel forms equate with a subgroup of the Aya Orqo material. This concerns vessels illustrated in González Carré et al. (1987: 101 top left [ jar with lattice design]; 104 bottom right [as 101]; 105 top left [ jar with lattice/linear design]; 106 upper two [open bowls, banded design with multiple amorphous to rounded filler elements]; 109 bottom [as 106]; 110 bottom leftandright[as106and109]).

Ceramic Analysis

The analysis of the new data presented here and re- examination of previously recorded material aims to provide a higher resolution understanding of the LIP assemblages found across Ayacucho, Apurimac, and Huancavelica. It sets out to establish if any of this material can be linked to the historically ident- ﬁ Figure 16. Soras-style (Aya Orqo) tapering neck jar (37) with i ed ethnic groups in this region, particularly the two offset strap handles placed above the widest part of the body. Chanca, and reviews some of the social and cultural LIP2 from Chiqna Jota [LU5 1551–SF209]. © F. Meddens. parameters that the assemblages allow us to access.

18 Meddens and Vivanco Pomacanchari: The LIP ceramic traditions of Ayacucho, Apurimac, and Huancavelica

The data sets comprise a series of ceramic assem- 2014; Huamani Diaz 2014), as well as from pub- blages excavated in the early 1980s from sites in the lished material on the results of excavations and Chicha valley along the boundary of the departments survey work carried out in the Caraybamba, of Ayacucho with Apurimac in the former territories Aymaraes, area of Apurimac (Van Dalen Luna of the LH and early colonial Soras ethnic group (on 2011), and region of Andahuaylas (Bauer et al. the Lucanas/Ayacucho side of the Chicha river), and 2010). The pottery for both data sets 1 and 2 were the upper Chanca moiety (Hanan Chanca) element recorded using identical numerical and alpha numeri- of the Chanca ethnic group situated on the cal variables, meaning that these can be comprehen- Apurimac bank of the Chicha river, merging into sively compared, whereas the material from data sets Aymara territory at the southern limit of this area 3 and 4 were documented in notebook form and on the same Apurimac side of this watercourse photographically, or consisted of records originally (Figure 1). This ceramic component derives from generated by third parties. offering deposits and stratified ceramic sequences dating to the LIP and LH. The groups of material included were selected because of confidence in the Chicha/Soras Valley Ceramic Analysis integrity of the contexts concerned, with low risk of residuality or contamination, e.g., admixture with All the relevant variants for the current analysis have earlier or later cultural or ecofactual components. been coded so that, for example, all open bowl, incur- They originate from two sites in the Chicha valley ving bowl, face neck jar, short neck jar, long neck jar, —Chiqna Jota (LU5) in Ayacucho, and Chicha cup-shape variants etc. (Table 1); and oval, circular, Qasa (AP2–7) in Apurimac. This confidence proved crescent, linear, box/rectangle, and diamond-design to some extent over-optimistic, as more residuality shape variants (Table 2) are appropriately grouped. than anticipated became obvious in the detailed Numbering the most similar shape and design cat- examination of the ceramics. The assemblages con- egories closely together clarifies a measure of their cerned were originally recorded as part of the princi- relatedness, making it easier to understand the pre- pal author’s Ph.D. dissertation work. sented analysis. The second data set considered comprises LIP and In the previous examination of the LIP Chicha- LH ceramic material present in the collections of the style material in the 1980s, 379 diagnostic sherds Ministry of Culture and the Universidad Nacional de were used from vessels from the site of Chiqna Jota, San Cristobal de Huamanga in the city of Ayacucho. situated on mid-valley land between the Pachachaca This material derives largely from surface collections stream and the Chicha river of which the former is carried out across a series of sites in the a tributary. The site is in the province of Lucanas Departments of Ayacucho, Apurimac, and within the department of Ayacucho.6 The settlement Huancavelica. Some elements of these collections includes some 200 mostly circular structures, were donated by or purchased from third parties arranged around patios with occasional large variants and appear to originate from offering and burial con- as well as rectangular buildings, and measures some texts. A third data set derives from private collections 9.5 ha. The examined material derives from a from individuals, schools, and colleges in Ayacucho, ceramic dump excavated in excavation unit 1, com- Huancavelica, and Apurimac, and material from cur- prising nine contexts ([702], [704], [704], [705], rently unpublished excavations and surface collections [707], [710], [718], [720], [721], and [722]). This across this region. The fourth group comprises material has been interpreted as a purposefully pottery material described and illustrated in a set of placed mound, arranged around and on top of a unpublished student dissertations from the large boulder, central to a late MH (MH2) offering Universidad Nacional de San Cristobal de deposit. These contexts consist of individual layers Huamanga (Gomez Choque 2008; Gutiérez Correa within this sequence, which have been assigned to

19 Ñawpa Pacha: Journal of Andean Archaeology

Table 1. Vessel shape id codes and descriptions. Table 1. Continued

ID ID Categories and Descriptions code Categories and Descriptions code Open bowl/rounded base 1 Necked jar/everted neck, small/miniature, rounded 41 Open bowl/rounded base, everted rim 2 body, rounded base Open bowl, deep/rounded base, everted rim 3 Necked jar/short everted neck, small/miniature, 42 Open bowl/flat base, convex body to rim 4 multiple (2/3) vertical pierced lug handles, rounded Dish/flat base, convex body 5 base Open bowl/flat base, everted rim 6 Necked jar/everted neck, small/miniature, vertical 43 Open bowl/flat base, inclined straight-sided 7 handle on body, rounded base Open bowl/flat base, inclined straight-sided, ring base 8 Necked jar/everted to elongated neck, small/miniature, 44 Open bowl/inclined straight-sided, flat base 9 multiple (2/3) vertical pierced lug handles, pointed Handled open bowl, vertical handle lip to body, 10 base rounded base Necked jar/concave neck 45 Tripod bowl/open 11 Necked jar/concave and carinated 46 Beaker/simple 12 Necked jar/complex contour (carinated) 46.5 Beaker/tall 13 Arybalus INKA 47 Beaker/short and wide 14 Necked jar/convex neck 48 Beaker molded face lug/knob 15 Necked jar/everted convex neck 49 Beaker molded face lug/knob, vertical handle lip to 16 Neck jar/globular neck 50 body Neck jar/globular neck with everted rim 51 Incurving bowl/simple 17 Double necked jar, medium size, rounded body, 52 Incurving bowl/carinated 18 pointed base, multiple (2) vertical handles on body Incurving bowl/animal lug and lug tail 19 elongated necked jar, carinated 53 Incurving bowl, lug tail 20 Elongated necked jar, concave 54 Incurving bowl/everted rim 21 Elongated necked jar with sharply everted rim 55 Incurving bowl, everted rim, horizontal handles on 22 Face necked jar/simple 56 body (Manka) INKA Face necked jar/shouldered 57 Large incurving handled bowl 22.5 Face necked jar/convex neck 58 Incurving cooking pot 23 Face necked jar/carinated neck 59 Short neck jar/simple and smaller version 24 Handled jug, single vertical handle lip to body, small 60 Short neck jar/simple and smaller version (medium), 25 Handled squat jug, everted neck and rim, vertical 61 fl horizontal handles handle on body or lip to body, at to slightly rounded Short neck jar/simple and smaller version (medium), 26 base horizontal/vertical handles on body shape very similar Handled squat jug, everted neck and rim, vertical 62 fl to 14 but cooking pot function handle on body and on lip to body, at to slightly Short neck jar/simple and smaller version (medium), 27 rounded base pointed base and vertical handles on body, spout on Elongated jug, everted rim, single vertical handle on 63 upper part body above handle (looks a little like a body, medium INKA teapot), cooking pot function Elongated jug, everted rim, single vertical handle lip 64 Spouted necked jar 28 to body, small Necked jar/simple and medium 29 Elongated jug, everted rim, small/miniature, two 66 Necked jar/short straight neck globular/rounded body, 30 vertical pierced lug handles lip to neck flattish base with four rod feet, simple and medium Elongated jar, everted neck and rim, single horizontal 67 Necked jar/simple and large 31 loop handle on body Necked jar/simple and oversize 32 Boot-shaped vessel 68 Necked jar/straight neck, everted lip, small 33 Spoon 69 Necked jar/straight neck, everted lip, medium 34 Figurine/male 70 Short neck jar/tapering neck, small, rounded base 35 Figurine/female 71 Short neck jar/tapering neck, small 36 Figurine/animal 72 Neck jar/tapering neck medium 37 Spindle whorl 73 Neck jar/tapering neck large 38 Spindle whorl/adapted sherd 74 Necked jar/everted neck 39 Pottery production base 75 Necked jar/tapering and everted neck, small/ 40 miniature, multiple (2/3) vertical pierced lug handles, rounded body, rounded base Continued

20 Meddens and Vivanco Pomacanchari: The LIP ceramic traditions of Ayacucho, Apurimac, and Huancavelica

Table 2. Decorative motif id codes and descriptions.

ID Category Detail Composition Code Period STYLE Painted Designs Slip Cover Body 1 * Oval Outline only Occasional 2 * Oval Outline only Multiple 3 LIP1 Oval Outline only Multiple outlined 4 LIP1 Chicha Oval Outline only Multiple outline in cross 5 LIP1 Chicha Oval With dot filler—single Occasional 6 LIP2 Soras Oval With dot filler—multiple Multiple outlined 7 LIP1 Chicha Oval With dot filler—frequent Multiple, in pairs, outlined 8 LIP1 Chicha Oval With bar filler In pairs 9 LIP1 Chicha Oval With bar filler In chain outlined 10 LIP1 Chicha Oval With bar filler In continuous chain outlined 11 LIP1 Chicha Oval With bar filler In chain outlined, with linear with right-angle 12 LIP1 Chicha branches at base and top of oval chain Oval With bar filler Outlined with two parallel chains outlined by 13 LIP1 Chicha three linears Oval With bar filler Outlined with two parallel chains outlined by 14 LIP1 Chicha three linears/paired set with inverse colors Oval With bar filler Outlined chains with central field comprising 15 LIP1 Chicha outlined wavy line Oval With bar filler Outlined by T-bar with horizontal ovals 16 LIP1 Chicha Oval With bar filler Single outlined by linear box 17 LIP1 Chicha Oval With bar filler Multiple outlined by linear box 18 LIP1 Chicha Oval With bar filler Outlined with further oval outlined oval(s) 19 LIP1 Chicha Oval With bar filler Outlined paired chains with multiple additional 20 LIP1/2 Chicha bar fillers within outline, external to ovals Oval With bar filler Multiple outlined in repeated box frame 21 LIP1 Chicha Oval Single wavy linear Outlined chain 22 LIP1 Chicha touching outline Oval Multiple wavy linears Outlined chain 23 LIP1 Chicha touching outline Oval Multiple straight linears 24 LIP1/2 Chicha touching outline Oval Paired chains with wavy Parallel chains separated by central linear 25 LIP1/2 Chicha bar which projects outside of ovals limits Oval Outlined chain Series of interconnected teardrop shapes 26 LIP1 Chicha Circle Outlined Circle within circle 27 MH2 Circle Outlined Thick circular central dot outlined with inverse 28 MH2 color circle Circle Multiple Series/chain 29 LIP1 Circle Outlined Divided eye 30 MH2 Circle Outlined Inner circle divided by two parallel wavy lines 31 MH2 Circle Divided Circle with interior cross not reaching inner 32 MH2 circle Circle Divided Circle with interior cross not reaching inner 33 MH2 Wari/ circle (pale on paler) with dark band above Vinaque Circle Divided Cross and single filler dots in four quarters 34 MH2 Vinaque Circle Divided Cross and single filler dots in two of the four 35 MH2 quarters Circle Divided Cross and multiple filler dots in three quarters 36 LIP1 Chicha Continued

21 Ñawpa Pacha: Journal of Andean Archaeology

Table 2. Continued

ID Category Detail Composition Code Period STYLE Circle Divided Multiple crosses superimposed, two dividing 37 LIP1 Chicha circle into eight segments Circle Divided Multiple crosses superimposed, two opposing 38 LIP1 Chicha colors, dividing circle into eight segments with occasional bar fillers Circle Oblique Multiple bar fillers 39 MH2 Circle Line band Circle with interior dot and oblique band line 40 LIP1 Crescent multiple Dot filler 41 MH2 Hua manga Crescent Multiple Outlined, vertical empty chains 42 MH2 Huamanga Crescent Multiple/horizontal Outlined, empty chains, alternating tone bands 43 MH2 Huamanga Crescent Multiple/horizontal Outlined horizontally arranged crescents 44 MH2/ LIP1 Line Thick band Single, almost always part of larger design 45 * Line band Thick band Across center interior bowl 46 LIP1 Chicha Line band Thick band Cross across center interior bowl 47 LIP1 Chicha Line band Thick band Cross outlined across center interior bowl 48 MH2 Line band Thick band Cross outlined with closed terminals 49 MH2 Huamanga Line band Thick band Oblique cross with outlined horizontal box filler 50 LIP1 Chicha elements Line Thick band Under or on lip 51 * Line Thick band Under or on lip with series of vertical lines 52 LIP1 contained within band Line Thick band Under or on lip with series of vertical lines 53 LIP1 crossing over limits of band Line Thick band Under or on lip with series of vertical lines 54 MH2 crossing over limits of band, which are finished as a series of parallel “u”s Line Outlined vertical parallel Outline darker, inner parallel outlined lines 55 MH2 from lip lighter Line Parallel, horizontal Parallel 56 MH2 Vinaque Line Parallel, horizontal Parallel, all same dark tone 57 * Line Parallel, horizontal Parallel, alternating thicknesses and colors 58 MH2 Line Parallel, horizontal Parallel alternating thicknesses, variable colors 59 MH2 Huamanga Line Parallel, horizontal Parallel alternating thicknesses, variable colors 60 MH2 including thick black/dark band(s) Line Parallel, horizontal Parallel series of equal thickness, 61 MH2 alternating color, alternating with series of different thickness, alternating colors including black/dark band(s) Line Parallel, horizontal Pair of closely spaced darker and thinner bands 62 MH2 above and below a broad wide central band Line Parallel, horizontal Single wide darker band above and below wider 63 MH2/ lighter central band LIP1 Line Parallel, horizontal & Single wide darker band outlined with thin 64 MH2/ vertical paler bands above and below wider lighter LIP1 central band, with vertical darker outlined in paler band space dividers Line Parallel, horizontal & Series of thinner horizontal darker bands, 65 LIP1 vertical separated by pale bands, with a few less pale bands and occasional bar fillers against a vertical darker divider band Continued

22 Meddens and Vivanco Pomacanchari: The LIP ceramic traditions of Ayacucho, Apurimac, and Huancavelica

Table 2. Continued

ID Category Detail Composition Code Period STYLE Line Parallel, horizontal and Sloppily applied horizontal, or vertical and 66 LIP2 Soras/Aya vertical oblique bands, undulating Orqo Line Parallel, horizontal Parallel series of equal thickness, alternating 67 LIP1 color, alternating with series of different thickness, alternating colors including black/ dark zigzag band at top Line Horizontal/vertical boxed Thin darker lines separated by thicker wider 68 LIP1 Chicha lines also with separated fields Line/band Oblique Dark outlined wider pale band with two lines of 69 LIP2 dot/bar fillers Line/band Vertical Dark outlined wider pale band with three lines 70 LIP2 of bar fillers Line/band Vertical White with black dot fillers 71 MH2 Vinaque Line/band Vertical Dark with pale dot fillers in angled layout 72 LIP1 Line Horizontal Wavy 73 MH2 Line Horizontal Zigzag 74 LIP1 Band Outlined horizontal Zigzag with adjoining triangles with randomized 75 LIP1 bar fillers Band Outlined horizontal Zigzag with adjoining triangles apposing tone/ 76 MH2 color Band Horizontal Dark with pale dot fillers 77 MH2 Line Vertical Parallel monochrome bands 78 MH2 Line Vertical Thin parallel vertical dark bands 79 MH2 Line Oblique angle Parallel diagonal alternating color monochrome 80 MH2 bands Line Vertical Multiple parallel (ish) wavy bands 81 LIP2 Soras/Aya Orqo Line Vertical Wavy line outlined with straight linears 82 MH2/ LIP1 Line Vertical Two parallel wavy lines outlined with straight 83 MH2 linears Line Vertical Two wavy lines in opposing wave pattern 84 MH2/ outlined with straight linears LIP1 Line Vertical Paired wavy lines mirroring each other 85 LIP1 Line Horizontal Wavy line outlined with straight linears 86 LIP1 Line Horizontal Wavy line outlined with straight linears—three 87 LIP1 Chicha or more in parallel Line Horizontal Wavy line outlined with straight linears—three 88 LIP1 Chicha in parallel, central section color inverted from outer sections Line Horizontal Central wavy line outlined by thick upper and 89 MH2 lower monochrome bands Line Horizontal Thick parallel wavy (2) lines outlined by 90 LIP1 different color straight linears Line Horizontal Thick parallel wavy (multiple) lines outlined by 91 MH2/ different color straight linears LIP1 Rectangle/square Divided rectangle Bar filler 92 LIP1 Chicha (rectilinear grid) Rectangle/square Box of six rectangles Bar filler with zigzag bar divider 93 LIP1 Chicha Rectangle/square Box of four rectangles Bar filler with zigzag bar divider 94 LIP1 Chicha Continued

23 Ñawpa Pacha: Journal of Andean Archaeology

Table 2. Continued

ID Category Detail Composition Code Period STYLE Rectangle/square Offset four box rectangles Bar fillers and continuous connection central 95 LIP1 Chicha lines across offset non-rectangle sections Rectangle/square Offset four box rectangles Bar fillers 96 LIP1 Chicha Rectangle/square Offset single box Bar fillers 97 MH2/ rectangles LIP1 Rectangle/square Parallel offset double Double bar fillers 98 MH2 squares Rectangle/square Divided rectangle Multiple dot fillers 99 MH2 (rectilinear grid) Rectangle/square Offset divided rectangle Single and multiple dot fillers 100 * (rectilinear grid) Rectangle/square Box of six rectangles Empty 101 * Rectangle/square Horizontal Series of adjoining rectangles 102 * Rectangle/square Multiple grid Parallel series of lines of boxes with bar fillers 103 MH2 Vinaque and empty ones (wing feather?) Rectangle/square Multiple grid Parallel series of lines of boxes with dot fillers 104 MH2 and empty ones at base with parallel outlined vertical bands (wing feather?) Rectangle/square Multiple grid Parallel series of lines of boxes with bar fillers 105 MH2 and empty ones at base with parallel outlined vertical bands (wing feather?) Rectangle/square Horizontal banded Subdivided rectangle 106 * Rectangle/square Band, horizontal Vertical series of rectangles with central dot 107 * filler Rectangle/square Band, horizontal Vertical series of rectangles 108 * Rectangle/square Band, horizontal Two curved parallel bands with below series of 109 * rectangles with interior rectangle filler Rectangle/square Vertical Oblique cross with 45-degree aligned central 110 MH2 bars between corners Rectangle/square Vertical Rectangle with central oblique cross with dots 111 MH2 in triangles Rectangle/square Horizontal Unevenly distributed grid and dot 112 LIP1 Chicha pattern—representing field system? Associated with 84 Rectangle/square Horizontal Chequer-box design 113 MH2 Rectangle/square Oblique angle Dark over lighter bands 114 LIP1 Linear Vertical to oblique angle Dots and crescents “randomly” distributed 115 LIP2 Soras/Aya within outline Orqo Diamond Multiple chain Outlined 116 DIP1 Diamond Multiple chain and solid Outlined 117 LH Inca filled Geometric Band Double set of overlapping “X”s bordered with 118 LH Inca multiple vertical linears Geometric Horizontal band Outlined circles within circles on dark ground, 119 LH Inca alternating multiple rectangles within rectangles and “X”s with lower register repeating upper of circles within circles Geometric Vertical Outlined feathered band design with filled dots 120 LH Inca at the end of each frond Geometric Vertical Band and parallel thick lines 121 LH Inca Chevron Band vertical Variation in color scheme 122 MH2 Wari Continued

24 Meddens and Vivanco Pomacanchari: The LIP ceramic traditions of Ayacucho, Apurimac, and Huancavelica

Table 2. Continued

ID Category Detail Composition Code Period STYLE Figure of eight Horizontal Band 123 MH2 Figure of eight Horizontal Band with inner spaces filled with vertical band 124 LIP1 Chicha Capital “A” with Horizontal Dark band 125 LIP1 Chicha flattened top Recurved “S” Horizontal Gray on black 126 MH2 Wari/Black Decorated Circle and stepped Horizontal Gray on black 127 MH2 Wari/Black Decorated Outlined zigzag Horizontal Gray on black 128 MH2 Wari/Black and circle Decorated Rectangle/square Horizontal Double boxed with interior stepped and 129 MH2 Wari/ diagonal design in paler band on whitish Vinaque background Figurative Horizontal and profile Humped back (?) mammal with fleur de lis 130 MH2 Wari appendages Figurative Horizontal and profile Feline/jaguar 131 LIP1 Chicha Figurative Profile Camelid 132 LIP1 Chicha Figurative Prone Frog or toad 133 LIP1 Chicha Fleur de lis Fleur de lis Fleur de lis appendage 134 MH2 Plastic Designs Small deep barley Vertical Parallel series 135 LH Inca seed-sized indentations Small deep barley Oblique Parallel series 136 * seed-sized indentations Thumb or finger Horizontal Leaving a raised crescent at the top of each 137 * impressions impression—in series Lug or knob 138 MH2/ LIP1 Modeled face E 139 LIP Modeled face E2 140 LIP Modeled face E4 141 LIP Modeled face E8 142 LIP Modeled face E21 143 LIP Modeled face E22 144 LIP Modeled face E11 145 LIP Animal lug D16 146 LIP1 Chicha Animal lug D16 147 LIP1 Chicha Animal lug D2 148 LIP1 Chicha Animal lug B 149 LIP1 Chicha Animal lug “J” modeled frog head on rim–lip 150 LIP1 Chicha Animal face Modeled rabbit/viscacha 151 LIP Uncertain Modeled uncertain 152 * the LIP (see below). This group constitutes a 10 selected for which all the 870 available recorded diag- percent stratified random sample of the diagnostic nostic sherds and complete vessel profiles were used. material recorded from these contexts. For the re- This material has been attributed to the earlier LIP analysis, the diagnostic material from a single or LIP1. The analysis predominantly comprised context [704] from the same ceramic dump was Chanca- and Chicha-style material, with a small

25 Ñawpa Pacha: Journal of Andean Archaeology

proportion of residual Huamanga and Viñaque pottery. Whether this style can be directly associated with the Chanca ethnic group remains an unresolved question, as will become clear. For comparative reasons, the vessel shape distribution for the 379 sherds of the earlier (1980s) analyzed sample constituted 29 vessel shapes. Of these, four open bowl variants totaled 17.7 percent, two beaker variants 1.6 percent, six incurving bowl types

14.9 percent, 15 necked jar forms 53.5 percent, Figure 19. Chicha-style simple incurving bowl (17) with with two miscellaneous forms such as spoons, rectangle and bar filler designs (94), LIP1 from Chiqna Jota [LU5 spindle whorls, and figurines constituting 2.3 704–22]. © F. Meddens. percent. The single most frequent vessel shapes comprise open bowls with rounded bases (1) 12.4 percent, with a modicum of certainty to which specific shape simple incurving bowls (17) 7.7 percent, simple the sherd corresponded. Such examples constituted medium-sized (short) necked jars (29) 17.4 percent, 11.1 percent and 7.7 percent of each group, and simple face neck jars (56) at 21.4 percent. respectively. For the recently reanalyzed group of contexts [704], For the material from context [704] the motifs which therefore includes some of the pottery pre- characteristic of the designs used were defined by a viously analyzed in the 1980s, the vessel types rep- limited number of primary base patterns. For the resented 35 shapes, for which the six open bowl external decoration of the vessels present, these com- variants totaled 16.8 percent, four beaker variants prised external slip 0.2 percent, ovals 24.3 percent 3.3 percent, five incurving bowls 11.3 percent, 18 (Figure 21), circles 0.5 percent, linears 47.9 percent, necked jar forms 59.9 percent, with a single miscella- rectangle/square variants 4.4 percent, other geometric neous form constituting a further 1 percent. The most types 0.9 percent, curvilinears 3.0 percent, figurative frequently represented variants are open bowls with forms 0.5 percent, and plastic designs 2.5 percent. rounded bases (1) 10.5 percent (Figure 18), simple For the internal design motifs, these encompass an incurving bowls (17) 8.2 percent (Figure 19), internal slip 2.6 percent, ovals 3.3 percent, crescent simple medium-sized (short) necked jars (29) 23.6 0.7 percent, linears 80.4 percent, box/rectangle/ percent (Figure 20), and simple face neck jars (56) square 1.3 percent, other geometric variants 0.7 at 23.9 percent (Figure 8). Missing values in both percent, and figurative elements 2.6 percent. groups were represented by diagnostic material that It should be noted that, with fragmented material, could represent one of several forms but where not there is a tendency for certain base forms to be enough of the vessel profile had survived to establish

Figure 18. Chicha-style open bowl with rounded base (1) LIP1 Figure 20. Chicha-style simple medium-sized (short) necked jar from Chiqna Jota [LU5 706–85]. © F. Meddens. (29), LIP1 from Chiqna Jota [LU5 1328–44]. © F. Meddens.

26 Meddens and Vivanco Pomacanchari: The LIP ceramic traditions of Ayacucho, Apurimac, and Huancavelica

overrepresented because of the breaking up of the larger overall designs into smaller, less diagnostic entities. Complete designs have been divided into multiple, less easily recognizable sub-elements. These are not definable clearly enough to confidently attribute them to their complete original design themes. Here the linear motifs, which clearly dominate in the stat- istics, have been significantly influenced by this factor. Of the diagnostic material, 49.9 percent was decorated on the exterior and 50.1 percent was not decorated, while 17.5 percent was decorated on the interior and 82.5 percent was not. It should be noted that, if one adds the nondiagnostic material into the equation against the 871 diagnostic sherds and occasional whole vessels, there are 4,898 nondiagnostic sherds from context [704]. The 523 decorated sherds constitute a much smaller 9.9 percent of the total decorated diagnostic and nondiagnostic components (5,768 sherds). This group of material in many ways presents a clearer picture of the assemblage; however, because of the total sizes of the pottery groups involved it proved impossible to make these calculations for all the excavated ceramics. To establish valid comparisons among the pottery presented here, unless otherwise stated, it is exclusively the diagnostic material that has been included in the analysis. The most frequent vessel shapes constituting Chanca- and Chicha-style variants in the re-analyzed material from context [704] are further elaborated below. The round based open bowl (1) ranges from 7 to 28 cm in diameter with the latter being a single outlier with 70 percent of the diameters being between 8 and 12 cm (mean = 12 cm, median = 17.5 cm, SD = 6.5, n = 91). The vessel walls for this form tend to be straight with the rim at the lip having a rounded profile. The single most common exterior decorative design (51), representing 27.3 percent, comprises a horizontal band under the vessel lip, which on the interior of this form constitutes 15.7 percent. A band under or on the lip with a Figure 21. Chicha-style LIP1 with examples of oval variants (3) series of vertical lines contained within the band [LU5 705–261], (7) [LU5 706–100], (13) [LU5 728–290], and (52) (Figure 22 upper) makes up 9.8 percent, and a (24) [LU5 703–30/32] from Chiqna Jota. © F. Meddens. similar band with a series of vertical lines crossing

27 Ñawpa Pacha: Journal of Andean Archaeology

over the margins of the band (53) represents 21.6 percent (Figure 22 lower). Occasional examples are present that lack the horizontal band (Figure 18). The single figurative design found on the interior of these vessels comprises a stylized camelid presented in profile (132) (Figure 23), which constitutes 5.9 percent of the interior design motifs. The simple incurving bowls (17) range in diameter from 6 to 19 cm (mean = 10.4, SD = 2.9, n = 71). Of this vessel type, 63.4 percent have exterior decoration Figure 23. Chicha-style open bowl inclined straight sided with fl fi of which 9.9 percent comprise oval motif variants, at base (7), LIP1, stylized camelid presented in pro le (132) with linear stylized field (?) design, Chiqna Jota [LU5 733–479]. 39.4 percent linear designs, 11.3 percent variations © F. Meddens. on the rectangular/square types (Figure 24), and 2.9 percent are other geometric motifs. A total of 26.8 – percent have interior decoration with a single in areas remote from the Apurimac Chanca polity example with an interior slip and the remainder heartland. This form ranges in diameter from 9.0 to having either a monochrome horizontal band on 12.0 cm (mean = 10.5, SD = 1.2, n = 11), and the the interior of the lip or alternatively this same band vessel height averages from 6.0 to 7.0 cm. with groups of thick parallel vertical lines running Protruding from the vessel wall is the neck and from the top of the lip to the base of the band. head of an animal, frequently with the head having Although the incurving animal lug bowl (19) a reptilian or bird-like form. The chin of the animal (Figure 7) makes up only 1.3 percent of the vessel head is mostly exterior-facing from the vessel wall shapes within this group, it merits detailed descrip- (Figure 25) (35); a complete version of this vessel tion, as this form is both very diagnostic and found shape with animal head lug is illustrated in Figure 7. On the opposing side of the vessel, at approximately the same level as where the neck extends from, is a bulge or a knob mimicking the tail of the creature (Figure 7). For the painted exterior design motifs corresponding to 8.3 percent of this type, the decoration is uncertain, while 8.3 percent were ovals, 58.3 percent linears, and 25 percent were rectangle and square variants.

Figure 22. Chincha-style open bowl with rounded base (1), LIP1, with a band under and/or on the lip with a series of vertical lines contained within the band (52) [LU5 1445–31], with vertical wavy line design (85), and a thick band under or on the lip with a series of vertical lines crossing over the margins of the band Figure 24. Chicha-style simple incurving bowl (17), LIP1 (53), with outlined oval with bar ﬁller design variant (19), Chiqna rectangular/square type (96) [LU5 707–103], Chiqna Jota. © F. Jota [LU5 733–3]. © F. Meddens. Meddens.

28 Meddens and Vivanco Pomacanchari: The LIP ceramic traditions of Ayacucho, Apurimac, and Huancavelica

designs with single or multiple bands (45) character- izing 97 percent of the decorated material, with a single example of an outlined feathered band design with dot ﬁller elements at the end of each frond (120). The latter demonstrates continuity of an earlier MH design or represents a residual sherd in a largely LIP context. With the simple face neck jars (56), diameters range from 9.0 to 12.0 cm; the base shape tends to a pointed form, and strap handles are found on the neck. Where these are small strap forms, they may mimic ears. They are also found in the form of pierced lugs connecting with the lip and neck or on the body, and they are always vertically placed. These vessels tend to be moderately large, c. 25.0 to 28.0 cm tall. The faces are mold made (Figure 8), anthropomorphic, and often painted; and the great majority of this vessel type has external decoration (81.5 percent), largely comprising paired series of ovals outlined in bands, which commonly run in sets of four vertically to diagonally executed elements across the vessel body (Meddens 1985: 210; and Figure 25. Chicha-style animal lug head examples (19) (LIP2) Figure 8). from Chiqna Jota [LU5 706–96; LU5 1314–400/401/383]; see also Figures 5 and 11. © F. Meddens.

Chicha Qasa AP2–7 Excavation Pit 2 The beaker forms (12–16) range in diameter from 6.0 to 12.0 cm (mean = 9.6, SD = 2.2, n = 25). All A much smaller assemblage of material derives from have external decoration, of which 8 percent could stratified deposits from the site of Chicha Qasa at c. not be further defined, 12 percent exhibit oval 3,500 masl, situated on the Apurimac bank of the designs (Figure 12) (11), 64 percent linear types Chicha river, 1 km east of the site of Chiqna Jota. (Figure 10) (86), and 16 percent have rectangle/ This site is relatively small, with some 70 largely cir- square variants. Albeit not present in this sub- cular structures, although a small number of sub-rec- sample, across the assemblage there is a frequent tangular to oval buildings and one small square occurrence of a type, which, besides painted exterior chullpa constructed of Inca-type polygonal stonework designs, has centrally placed on the vessel wall a are also present (Meddens 1985). Occupation evi- small, mold-made, round and half globular anthropo- dence confirms activity on the site from MH2 to morphic face. This is commonly also painted to LH. The assemblage analyzed stems from a small emphasize specific features (see Figure 10). 1.0 × 1.0 m excavation pit excavated in the side of a The simple, medium-sized, short neck jar (25) path, were erosion exposed a laminated series of com- ranges in diameter from 10.0 to 20.0 cm (mean = pacted stratified layers with significant quantities of 14.6 cm, SD = 2.6, n = 43). The great majority of flat-lying cultural material. The sequence derived this vessel shape is plain, with only 16.6 percent from a midden deposit. being decorated. This decoration, where present, The LIP1 part of this material comprises 442 largely comprises very simple monochrome linear sherds from 19 contexts ([450], [451], [452], [454],

29 Ñawpa Pacha: Journal of Andean Archaeology

[456], [457], [458], [459], [460], [461], [462], [463], [464], [465], [466], [467], [468], and [469]). The styles present largely comprise Chanca and Chicha as well as some residual Huamanga and Viñaque elements. This group encompasses 28 vessel shapes. Of these, four open bowl variants total 21.3 percent, three beaker variants 1.8 percent, five incurving bowl types 9.7 percent (including the animal lug bowl (19) form at 1.8 percent), and 16 necked jar forms constitute 49.8 percent. The single most frequent vessel shapes encompass open bowls with rounded bases (1) 12.0 percent, simple incurving bowls (17) 4.8 percent, the simple smaller version of short neck jars (25) 9.0 percent, simple medium-sized (short) necked jars (29) 6.3 percent, and simple face neck jars (56) at 21.9 percent. Of this group, 63.1 percent were plain and 36.9 percent were decorated externally. For the decorated material, the motifs used were again defined by a limited number of primary base patterns. The internal decoration of the vessels present comprises ovals 15.3 percent (Figure 26), linears 50.9 percent, rectangles/squares 2.5 percent, other geometric variants 1.8 percent, figurative motifs 0.6 percent, and plastic designs 6.7 percent. A total of 82.1 percent were plain on the interior and 17.9 percent were decorated. The internal design motifs include an internal slip—5.1 percent, ovals—5.1 percent, linears—74.7 Figure 26. Examples of Toqsa material from surface collection percent, rectangle/square elements—1.3 percent, —Sondondo Valley (received from K. Schreiber). © F. Meddens. with 13.9 percent carrying motifs that were not further definable. Although there are obvious differences between the early LIP assemblages from excavation unit 1 (context beaker type 0.6 percent, two incurving bowl forms [704]) from Chiqna Jota (LU5) and excavation pit 2 4.1 percent, and 12 necked jar forms 62.7 percent. from Chicha Qasa (AP2–7), the similarities are such The single most frequent vessel shape comprises that they clearly represent variations of the same open bowls with flat bases and a convex body Chanca- and Chicha-style ceramic tradition covering outline from rim to base (4) 7.7 percent. Three jar a closely related timeframe. The LIP2 part of the forms stand out, the simple smaller version of short sequence consists of 169 diagnostic sherds from 12 neck jars (25) making up 17.2 percent, simple contexts ([436], [438], [439], [440], [441], [443], medium-sized (short) necked jars (29) at 10.3 [444], [445], [446], [447], [448], and [449]). The percent, and simple face neck jars (56) constituting styles present comprise Aya Orqo/Soras as well as 20.7 percent. some residual Chanca and Chicha and Huamanga Of this group, 89.9 percent of the exteriors were material. This group is made up of 21 vessel forms. plain and 10.1 percent were decorated. For the dec- Four open bowl variants total 18.3 percent, one oration, the designs include ovals—5.3 percent,

30 Meddens and Vivanco Pomacanchari: The LIP ceramic traditions of Ayacucho, Apurimac, and Huancavelica

sherds there were 2,044 nondiagnostic sherds from these contexts. The 33 decorated sherds represent 1.5 percent of the total decorated diagnostic and nondiagnostic components (2,213 sherds), with 98.5 percent being undecorated. The shift to a dramatically reduced range of vessel forms and design motifs, which is evident from this group, appears characteristic of the changes in ceramic production for LIP2 in this part of Apurimac and Ayacucho. Across much of the Central Andes, there appears to be a general simpliﬁ- cation in pottery production during this period, such as has been observed for the north and central coast (Quilter 2013: 135–136). Fine-ware ceramics on sections of the south coast, for example, in the Chincha tradition, give emphasis to utilitarian forms (Quilter 2014: 253). In the highlands, similar reductions in cultural complexity have been suggested to have been linked to a cultural secularization, and an Figure 27. Chicha-style oval designs (5) [AP2–7 464–13] and increasing focus on ancestor worship (Quilter 2014: (9) [AP2–7 466–69], LIP1, Chicha Jasa. © F. Meddens. 254). In Apurimac and Ayacucho during LIP2, these changes appear to be part of a continued decline in the importance of the elite and the rise of more egalitarian societal structures (Meddens 2011). The LH material is made up of 117 sherds from six contexts ([432], [433], [434], [435], [437], and [442]). The styles present comprise Aya Orqo/Soras and Inca as well as provincial Inca variants. This group encompasses 21 vessel forms consisting of four open bowl forms representing 12.7 percent, one beaker type at 0.8 percent, three incurving bowl variants at 4.2 percent, and 13 jar types at 55.9 percent. Again, three jar forms are present at elevated frequencies. These comprise the simple smaller version of short neck jars (25) 17.8 percent, the simple medium-sized (short) necked jar (29) at 12.7 percent, and the simple face neck jar (56) at 10.2 percent. Of this group, 80.3 percent are plain on the exterior and 19.7 percent decorated. The designs consist of linears at 69.7 percent, 4.3 Figure 28. LH offering assemblage from Chiqna Jota. © F. percent are geometric (Inca or provincial Inca-style Meddens. designs), with modeled faces representing 8.7 percent. linears—58.8 percent (Figure 27), and plastic designs In comparison with other LH assemblages from the involving rudimentary modeled faces—23.5 percent 20 km stretch of valley investigated in the 1980s— (Figure 15). In addition to the 169 diagnostic from just north of the small town of Soras to

31 Ñawpa Pacha: Journal of Andean Archaeology

approximately 3 km south of Pampachiri—the small fragments and Soras material (Meddens 1985). It excavated sub-sample from Chicha Qasa (AP2–7) includes elements that can be designated as Aya appears to present a reasonable reflection of the Inca Orco (González Carré et al. 1987). It derives from impact on local assemblages, with its small admixture LU5 excavation unit 2, contexts [812], [813], with Inca and provincial Inca-type ceramics. [816], [819], [835], [836], [837], [1400], [1402], [1404], [1405], [1412], [1413], [1419], [1420], [1431], [1440], [1442], [1445], and [1463], and Late Horizon Assemblages from Chiqna totals 367 complete vessel profiles and/or diagnostic Jota sherds. The vessel shape distribution for this sample constituted a significantly increased number of The assemblage analyzed here for the LH comprises a vessel types being represented, totaling 45 shapes. previously partly published collection of material. This is in part the result of the continued presence The group consists of a set of complete or nearly com- of earlier redundant forms derived from the residual plete vessels placed in an LH offering context (Figure elements in this assemblage. 28). The vessels used were miniature and small pots The enlarged vessel shape range in comparison with primarily in the Arqalla style, with a smaller group the LH group from Chicha Qasa (AP2–7) is due in of Inca pottery shapes, some being decorated in part to the larger size of the assemblage. The nature typical Inca design motifs, with both locally produced of the offering context and the presence of a varied and Cuzco types present (Meddens 1994). The offer- collection of material of Inca origin, both locally pro- ing had been placed in an aisle or corridor-type struc- duced (Figure 29) and while higher-quality imported ture which was initially erected during the MH examples, also will have contributed to the greater (Epoch 2), and had subsequently been abandoned with the later LH offering context being interpreted as referencing the ancestors (Meddens 1994). This offering assemblage was temporally specific and, for this analysis, the group of complete and near complete vessels has been re-analyzed together with the associated fragmented material. The latter includes residual earlier LIP1 Chanca and Chicha material. The whole group predominantly encompasses pottery of LIP2/LH Arqalla style with Inca vessel

Figure 30. Inca Cuzco import, elongated jug, everted rim, single vertical handle on body (63), exterior decoration, double set Figure 29. Inca local version, everted rim bowl (manca) (22) of overlapping “X”s bordered with multiple vertical linears (118), LH, from Chiqna Jota [LU5 814-SF51]. © F. Meddens. from Chiqna Jota [LU5 1400–SF215]. © F. Meddens.

32 Meddens and Vivanco Pomacanchari: The LIP ceramic traditions of Ayacucho, Apurimac, and Huancavelica

range of vessel types (Figure 30). Of the shapes present, six open bowl variants total 13.6 percent. There was a single tripod bowl example constituting 0.3 percent (this is residual and dates to the MH), four beaker variants represent 13.0 percent, five incurving bowl types constitute 8.4 percent, 22 necked jar forms make up 41.0 percent, and five jug variants constitute 10.6 percent. There are two miscellaneous forms at 1.9 percent. The most frequent vessel shapes comprise open bowls with rounded bases (1) at 8.2 percent; open bowls with flat bases, with a convex body to a plain rim (4) at 4.1 percent; a simple beaker form (12) at 12 percent; incurving bowls (17) at 5.7 percent; simple medium-sized (short) necked jars (29) at 17.9 percent; a small/miniature tapering to everted neck jar with multiple (2/3) vertical pierced lug handles, a rounded body, and rounded Figure 32. Vessel form (61) [LU5 1404–SF230], a handled base (40) (Figure 31) representing 4.1 percent squat jar with everted neck and rim with vertical handle(s) on fl (Arqalla); and a type (60) or miniature olla with a body or lip to body, and at to slightly rounded base. © F. short straight neck and two small handles on opposite Meddens. sides of the shoulder at 4.0 percent. Vessel form (61), a handled squat jar with everted neck and rim with vertical handle(s) on body or lip For this material, of the 367 diagnostic pieces of to body, and flat to slightly rounded base, is worth the exterior, 71.1 percent are not decorated and mentioning (Figure 32). Although not frequent (0.9 29.8 percent are decorated. The motifs for the percent), this represents an Aya Orqo type also primary base patterns, pertaining to the external dec- known from the site of Qaqas in the Huanta area oration of the vessel forms present, are characterized (Valdez 2002: 401, Figure 10). by ovals at 12.3 percent, circles at 0.9 percent, linears at 37.7 percent, rectangles/squares at 8.5 percent, curvilinears at 1.9 percent, and plastic designs at 3.8 percent. For the internally decorated vessels, 18.3 percent are elaborated with painted designs while 81.7 percent are not decorated. With the motifs used, 28.4 percent are oval variants, 52.2 percent are linears, 3.0 percent are rectangle/square types, while figurative designs constitute 4.5 percent, all depicting camelids shown in profile. These broadly coeval ceramic assemblages constitute a largely coherent unit, in which vessel forms and associated design motives are characteristic of the cultural and time- Figure 31. Arqalla-style plain necked jar with everted neck, related context in which they were produced (albeit – small or miniature size, multiple (2/3) vertical pierced lug handles, unsurprisingly the LIP2 Chicha Qasa [AP2 7] assem- rounded body and rounded base, LIP2/LH, from Chiqna Jota blage exhibits a degree of variance from the equivalent [LU5 812–SF41]. © F. Meddens. Chiqna Jota [LU5] group).

33 Ñawpa Pacha: Journal of Andean Archaeology

Analogous Assemblages large number of complete or near complete vessels. These are particularly useful with respect to helping The analogous groups include the material from the to indicate the vessel forms for elements of the LIP collections of the Ministry of Culture and the more fragmented material. Unfortunately, the prove- ceramic laboratory of the Universidad Nacional San nience is known for only a minority of these complete Cristobal de Huamanga, as well as collections of pots. The re-analysis of this small assemblage has material from private and school and high-school col- resulted in the recognition of a number of examples lections and assemblages shown to the authors of this of Chanca and Chicha vessels among the Tanta article. The latter include the collection of the Orqo and Qachisqo groups, specifically comprising Colegio Jose Carlos Arguadas, the privately held col- types of incurving bowls with an animal lug handle lections held in the Casa Artesanal/Micro Museo of and opposing “tail” type knob (variant 19). Maximo Sanchez Huincho and the Casa de la The LIP material held by the Ministry of Culture Cultura of Edgar Alindro Media Candiote, as well and the University of San Cristóbal de Huamanga as the collection of Edgar Davila Vargas, all in in the city of Ayacucho was reviewed in detail using Lircay. In Huancavelica, there is the collection of the same variables used for the ceramic component the Museo Regional de Huancavelica, to which we analyzed in the 1980s in the Chicha/Soras valley were allowed access. A large group of excavated (Meddens 1985). These assemblages include some material we were permitted to review came from the of the same pottery analyzed by González Carré site of Ranrapata (site code IHR, in the annex of et al., published in their 1987 Chanca monograph, Ccaccasiri, district of Acoria, province of as well as other, previously published items; there Huancavelica, department of Huancavelica) thanks are 106 pieces of which 40 are complete or near com- to its project director Nils Ramiro Sulca Huarcaya. plete vessels. All have an LIP or LH attribution, Then there was excavated material from the province although 60.4 percent cannot be precisely assigned of Vilcashuaman district of Cangallo, shown to us by to the timeframe within the periods covered. This its excavator Edison Mendoza M., as well as material material is mostly LIP2 in date with a minor com- collected by the authors from the site of Usccunta (in ponent pertaining to the LH. Of this assemblage, the department of Ayacucho, province of Lucanas). 5.7 percent can be classified as Tanta Orqo, 7.5 For the latter, there were 792 diagnostic sherds and/ percent as Qachisqo, 21.7 percent as Arqalla, and or complete vessel profiles, which were scanned and 4.7 percent as Aya Orqo (following González Carré photographed. There was an assemblage shown to et al. 1987). The vessel shapes present are open us by Jorge R. Camara Guerrero from the site of bowl types (10 percent), beaker variants (2.5 Pukullupata in the Negromayo valley in the province percent), and incurving bowl types (5 percent). of Lucanas. Katherina Schreiber provided illustrations Among the incurving bowls, 1.9 percent are of material collected by her in the Sondondo Valley in Chanca- and Chicha-style animal lug bowl (type the province of Lucanas. In addition, we made use of 19) examples, these being classified as both Tanta the available published and unpublished material. Orqo (1987: 44 upper illustration) and Qachisqo (1987: 59 lower-right illustration) by González Collections from the Ministry of Culture Carré et al. (1987). The remainder include 40 (Ayacucho) and the Universidad Nacional percent necked jar types, of which 3.8 percent are de San Cristobal de Huamanga face neck jar variants; there are 3.1 percent jug variants and 1.3 percent miscellaneous forms, made up The materials recorded in the collections of the of a boot-shaped vessel, a camelid-shaped form, and Ministry of Culture, Ayacucho, and in the ceramic a spoon. laboratory of the Universidad Nacional San A total of 63.3 percent of this pottery was undeco- Cristobal de Huamanga include a disproportionately rated on the exterior and there were no examples with

34 Meddens and Vivanco Pomacanchari: The LIP ceramic traditions of Ayacucho, Apurimac, and Huancavelica

interior decoration. Where decorative elements are present, the principal exterior decoration components present consist of oval elements (Figure 6)at4 percent, 0.9 percent circle variants, 11.3 percent linear motifs, 0.9 percent rectangle/square components, and 17.9 percent modeled or mold-made plastic decoration. With the plastic variants, 1.9 percent represent indentations and impressions, 5.7 percent lugs or knobs, 7.5 percent modeled faces, 1.9 percent animal head-shaped lugs, and there is a single example of a modeled viscacha head on the exterior of a beaker. These vessels are relatively small, for example, the necked jars in the Arqalla category range in height from 9.0 to 22.0 cm, with diameters ranging from 3.0 to 10.0 cm (mean = 5.0, SD = 2.0, n = 40).

Individual vessels deserving comment include a Figure 33. Chicha-style incurving animal lug bowl (19) with ill- previously published short straight necked jar with a defined animal head (probably a reptile) from Muyu Alto (EA12), globular or rounded body, a flattish base, and four Vilcashuaman/Cangallo. This has probably been identified as rod feet (González Carré et al. 1987: 45 lower-left Qachisqo (González Carré et al. 1987: 59 lower right). © F. illustration; see Figure 6). In the 1987 publication it Meddens. was catalogued as Tanta Orqo, but here has been re-classified as Tanta Orqo variant B. The original publication gave it three feet, but re-examination showed it actually had four. It has extensive banded oval designs executed in a zigzag pattern around the body (Figure 6). The shape is unique in the LIP assemblages reviewed. The paste is pink to beige with frequent igneous inclusions in the 1.0 mm range. The decoration is reminiscent of Chanca- and Chicha-style oval designs, although the vessel shape and design motif are dissimilar in execution, color palette, and paste from the aforementioned style. This vessel and a small group of material with similar pastes and linear design motifs in comparable coloring are said to have entered the collection of the university as a result of a purchase from a huaquero. This group is stated to have come from Koras in Figure 34. Chicha-style incurving bowl either animal lug (19) Acobamba, just east of the village of Huangallaco in LIP1, or simple incurving bowl (17), with oval design with bar the department of Huancavelica. Of the three filler (10) from Raqchi Pata (EA22). © F. Meddens. examples of incurving bowls with animal lug handles (type 19) (Figures 33–35), with exact parallels in the Chicha valley material, two come from at Muyu Alto (EA12) (Benavides Calle 1976) the site of Raqchi Pata (EA22) (Benavides Calle (Figure 33), all situated in the province of 1976)(Figures 34 and 35) and the third was found Vilcashuaman and district of Cangallo.

35 Ñawpa Pacha: Journal of Andean Archaeology

(Gutiérez Correa 2014: 132 Figures 41, 42, 137 photograph 60). As noted before, isolated examples of Chanca and Chicha material are known from the Vilcashuaman/Cangallo region (Benavides Calle 1976)(Figures 34 and 35).

Andahuaylas and Apurimac

In their review of the archaeology and ethnohistory of the north-western sector of Apurimac, Bauer, Kellett, Figure 35. Incurving bowl (19) with animal lug handle from and Aráoz Silva focus explicitly on the area which was Raqchi Pata. © F. Meddens. associated with the Hurin Chanca polity of the LH and earlier colonial period (Bauer et al. 2010). As Chanca and Chicha Style: Spatial referenced above, they define the LIP ceramics they Distribution encountered under the term Chanca ceramics. They characterize this pottery as having a light-colored Chanca- and Chicha-style ceramics are found in the paste with a watery orange or black wash and dull Andahuaylas area, the Chicha/Soras valley—in the colors, and confirm that certain designs are carried region formerly occupied by the Hanan and Hurin over from earlier Wari designs and shapes such as out- Chanca polities (Bauer et al. 2010)—and in the lined wavy line motives on bowls (Bauer et al. 2010: Sondondo valley. As far as it is known from the core 173). These designs, they note, reflect variants on area of the Soras polity, the style is found with Huamanga-style antecedents. Five form classes were greater frequency in the eastern sectors of this ethnic identified, which were made up of bowls, incurving group. Similar material is also known from the area bowls, small jars, storage vessels, and drinking cups. of Chalhuanca to the south (Hector Espinosa The bowls have frequent parallel vertical line Martinez, personal communication), and east of designs on the vessel lip as well as wavy line designs Chalhuanca in the Caraybamba valley where it is on the interior (Bauer et al. 2010: 174–175, A8.1 present in MH2 and LIP1 assemblages, represented and A8.3; Kellett 2010: 407–417, 437–449), which by styles defined as Marka Pata and Caraybamba equate with design (53). The incurving bowls are (Van Dalen Luna 2011: 172–187). In these assem- defined as frequently having an orange wash, a thin blages, examples of relevant decorated pottery are illus- band along the vessel lip and exterior linear designs trated by Van Dalen Luna (2011: Figures 103b, 108, (Bauer et al. 2010: 176, A8.6). For the Chicha 115), and derive from sites in the Chahuahuacho dis- valley these are part of the simple incurving bowl trict and river valley of the same name, and the Rio type (17) decorated with a linear range of designs Fuarabamba valley (Figure 5). (45–91), most specifically motifs (55), (68), and Further east in the Cotabambas province, also in (79). Small jars have 3- to 5-cm-high necks, which the Department of Apurimac and bordering on the on occasion have appliqué faces with some rims Department of Cuzco, 28 archaeological sites have having flaring lips. Storage vessels are of variable been registered (Gutiérez Correa 2014). The site of sizes and forms, frequently neckless but also with Panchama “A” has produced MH (including necked forms commonly with an orange or black Huamanga, Chakipampa, Ocros, and black decorated wash. The kero-style drinking cups are described as examples) and LIP assemblages, although Chanca and having short flaring rims with vessel depths ranging Chicha ceramics are absent. It should be noted that from 6.0 to 9.0 cm and dark red and/or black Arqalla-style examples have been identified linear designs on the exterior framing other geometric

36 Meddens and Vivanco Pomacanchari: The LIP ceramic traditions of Ayacucho, Apurimac, and Huancavelica

design fields. Multiple examples of the latter are with exterior bands of incised vertical lined decoration known from the Chicha valley assemblages albeit below the rim should be considered as a separate sub- that some have straight rims and there is a high fre- style from the principal Arqalla group (further refer- quency of mold-produced round faces found centrally enced as Arqalla B). These forms and their associated placed on the exterior of these cups (Figure 10). These decorative detail are not frequently found with the are identical to examples illustrated in Bauer et al. more common Arqalla A assemblages. We consider (2010: 178, upper section A8.8). They equate with it more likely that Arqalla B constitutes a culturally design identification numbers (139–145) in the rather than a temporally distinct group. Chicha valley material. It is suggested here that the The Chanca and Chicha ceramic style can no longer illustrated examples from the Andahuaylas area simi- be associated temporally with the whole of the LIP. It larly derive from cups rather than face neck jar cat- post-dates the Wari collapse and is associated with egories as attributed in Bauer et al. (2010: 177–178). LIP1. It can be found in high concentrations across As is clear from the ceramic analysis of the Chanca the area which later can be identified with that occu- and Chicha assemblages, both the vessel forms and pied by the Chanca polities extending into territory design motif range from the Chicha valley are more associated with the Soras and Aymara groups found extensive, with larger numbers of complete vessel pro- in Lucanas (Ayacucho) and Apurimac, respectively. files and design motifs than what was defined for the Ceramically, this material retains much of the quality Andahuaylas area as published to date. This facilitates of the MH2 Huamanga style. Occasional examples both a more comprehensive stylistic and a better tem- of animal lug incurving bowls have been identified in poral definition of the LIP1 Chanca and Chicha surface material and private collections in the material by the reappraisal of the Chicha/Soras Vilcashuaman region (see above). This Chanca- and valley pottery. Chicha-style material is therefore of a limited geo- Besides the pale paste variants, reduced wares are graphic distribution and other immediately post- also found. The “drinking cups” with their external Wari moderately high-quality styles can be found in outlined banded geometric designs and appliqué parts of Huancavelica, Ayacucho, and Apurimac. As faces appear derived from earlier Viñaque-style ante- suggested by Kurin (2016), this may reflect variations cedents. A significant difference observed between in response to the loss of Wari central authority across the LIP1 and LIP2 assemblages from the sites of this area with some regions managing to maintain a Chiqna Jota and Chicha Qasa, respectively, is that coherent local political hierarchy and a measure of of the former 9.9 percent are decorated whereas of elite control, whereas in other sectors the loss of Wari the latter only 1.5 percent are (see above), considering dominance led to an immediate collapse of social struc- both the diagnostic and nondiagnostic components of ture. LIP2 C14 dates are at present more limited than these assemblages. A very low frequency of decoration those with earlier LIP1 associations (Bauer and Kellett for the LIP2 styles (Aya Orqo, Soras, and Arqalla) is 2010; Kurin 2013, 2016: 78, 80, Figure 4a). apparent across the whole research region (González Published data are currently insufficient to establish Carré et al. 1987). For LIP2 to LH, a case can be whether the fewer LIP2-related radiocarbon dates made for a significant decline in vessel embellishment, result from sample bias or whether there was a which can be noted as a chronological marker. reduction in population across Andahuaylas and The Arqalla materials from the Chicha valley do Lucanas during this period. not include tapering (constricted) neck everted rim- style jars where the decoration comprises bands of vertical parallel placed incised cuts (made while the paste Caraybamba was damp or leather-hard) as illustrated by González Carré et al. (1987: 76; Valdez and Vivanco 1994). Archaeological survey and excavations directed by Our conclusion is that these closed pottery forms Pieter van Dalen Luna, some 45 km southeast of

37 Ñawpa Pacha: Journal of Andean Archaeology

the Chicha valley along the Caraybamba river valley, González Carré et al. (1987) (Tanta Orqo, have similar Chanca and Chicha material. This Qachisqo, Arqalla, Aya Orqo, and Inca) are found includes several incurving bowl examples (Van together these appear to have had continued occu- Dalen Luna 2011: 172–173, Figure 100 a–g) here pation from the early LIP through to the LH. The classified as the Marka Pata style of MH derivation. absolute dates presented by Bauer et al. (2010) and This equates with incurving bowl type (17) decorated Bauer and Kellett (2010) for MH and LIP sites in with linear designs for the Chicha valley with designs the Andahuaylas area demonstrate a significant shift (55), (68), and (79), and similar examples for in settlement pattern for sites attributed to MH2 Andahuaylas (Bauer et al. 2010: 176, A8.6). Van from those credited to the LIP, this change being con- Dalen Luna suggests that this component from vincingly dated to the range AD 1000–1100, with Caraybamba dates to LIP1 or to the very end of the sites moving from valley floor and slope locations to MH. There is a possible fragment of an animal lug defendable mountain-top positions (Bauer and incurving bowl type (19) (Chicha valley motif 88). Kellett 2010:95–96, 101–103; Kellett 2010). This for the Caraybamba valley is attributed to MH Five organic samples for carbon dating were ident- Marka Pata and identified as Huamanga (Van ified among the material studied for this article as Dalen Luna 2011: 172–174, Figure 103b); being from primary and secure contexts, and were however, following the Chicha valley sequence it submitted to the Scottish Universities would be later in LIP1. A single example of an oval Environmental Research Centre (SUERC) radiocar- design is present (Van Dalen Luna 2011: 177, bon dating laboratory in Glasgow. These samples Figure 108), similar to design (103) for the Chicha derived from selected contexts excavated in the valley. An example of a small bulbous round mold- 1980s and targeted where possible residues adhering made face from a cup attributed to the LIP to pottery, or restricted life-cycle plant material Caraybamba style is also illustrated (Van Dalen (seeds or annuals). Of the samples identified as suit- Luna 2011: 180, Figure 115), again similar to the able for dating comprising pottery with charred resi- Andahuaylas examples of mold-impressed faces dues, only one proved suitable for further (Bauer et al. 2010: 178, A8.8 upper two) and the assessment for C14 processing. All plant material LIP1 Chicha valley design types executed on cups was identified prior to dating (Hara and Hastorf (Figure 10). 2016). The contexts for dating were selected to provide a terminus post quem, or to provide a date for a context deemed to have been formed in a rel- Absolute Dating evant late MH, LIP, or LH event. The sequence of material from context (704) from As previously noted, the material examined by the dump deposit excavated in unit 1 at Chiqna Jota González Carré et al. (1987) was phased based on (LU5) was part of a large, rapidly deposited accumu- its associations. Broadly speaking, Tanta Orqo was lation of broken pottery with occasional complete found to occur with Qachisqo, and Arqalla with vessels and evidence for vessels having been broken Aya Orqo and Inca. Tanta Orqo and Qachisqo there- in situ. The material was predominantly made up of fore can be assigned dates to the earlier LIP (LIP1) Chanca- and Chicha-style pottery with occasional and Arqalla and Aya Orqo to later in the LIP earlier residual Huamanga and Viñaque-style frag- (LIP2) and into the LH. The earlier LIP designation ments. This extensive deposit formed part of a for the Tanta Orqo group is confirmed by its mound of dumped material at the center of which inclusion of Chanca and Chicha elements and the was a large boulder. This sequence overlay at its derivations of this material, from the earlier base a layer of rocks which in turn covered a level of Viñaque and later MH Huamanga styles. It should silty loam into which had been placed a group of be noted that sites where all five styles discussed by complete vessels. These comprised several large

38 Meddens and Vivanco Pomacanchari: The LIP ceramic traditions of Ayacucho, Apurimac, and Huancavelica

cantaros or jars as well as bowls, a shouldered face neck a date. Further samples were submitted, one from jar (57) (Figure 36), a broken figurine (70) (Figure 3), the layer of carbonized grass from the hearth associ- a large cantaro half-filled with 7 kg of magnesium sili- ated with the Huamanga-style material, this to cate, several large obsidian flakes, and a large retouched provide a terminus post quem for the overlying obsidian blade as well as a hearth in a pit filled with Chicha-style material. It produced a date of 1206 ± layers of different colored ash, some burnt animal 24 B.P. (SUERC-68564 GU41471) cal AD 740– bone, broken pottery, and a layer of carbonized grass. 889 (95.4 percent). A second sample from context The complete pottery vessels and associated broken (704) was selected comprising a carbonized maize pottery in this basal deposit comprised Huamanga- kernel. This produced a date of 1230 ± 29 B.P. style material (Meddens 1985, 1991). (SUERC-69043 GU41878) cal AD 751–882 (95.4 As already noted, pottery fragments with a carbo- percent). Samples were submitted for contexts nized organic deposit from context (704) were sub- (813)—sample number 80–50—and (836) small- mitted for a C14 date to SUERC. Unfortunately, find <105> a small Arqalla-style jar-shaped vessel, the sample contained insufficient carbon to produce consisting of carbonized wood, from excavation unit 2 at Chiqna Jota (Meddens 1994), the former identified as Buddleja sp. or quishwara and the latter as Polylepis sp. or queñua (Hara and Hastorf 2016). As noted above, this material has been attributed to a LH offering deposit, placed in an earlier MH structure (Meddens 1994). They respectively produced dates of 778 ± 29 B.P. (SUERC-70513 GU42340) cal AD 1280 (95.4 percent) and 542 ± 30 B.P. (SUERC-70514 GU42341) cal AD 1355–1436 (95.4 percent). Context (813) comprised a brown- gray fine silty soil deposit with a significant >10 percent grit component, quantities of charcoal and numerous large rocks as well as miniature and small pottery vessels. Context (836) was a very dark brown, friable sandy silt matrix around a rubble fill with some small and miniature pottery vessels. The latter included the remains of collapsed roofing and wall elements of the building within which this fill was located. Although the carbonized grass gave a date in the expected range for MH2 Huamanga-style material, the date from the carbonized maize kernel from context (704) was earlier than expected. The C14 dates published in Bauer et al. (2010) for the LIP Chanca material range from cal AD 1000 to 1400, with the nine uncalibrated dates for Chanca phase sites in the Andahuaylas area ranging from AD 934 ± 32 to AD 1124 ± 30 (Bauer and Kellett 2010: Figure 36. Huamanga-style shouldered face neck jar (57) with 80). This comparative material clearly suggests that cruciform design (49) from Chiqna Jota [LU5 733–91]. © F. the date for context (704) is too early and is likely Meddens. to derive from residual charcoal in this deposit.

39 Ñawpa Pacha: Journal of Andean Archaeology

Whether this residual component entered this context the Inca empire, it is important to review the accounts accidently or on purpose is unclear, although the of the warfare which formed such a pivotal aspect of rapid deposition process indicated by the presence the expressed Inca beliefs. It is important in this of complete and in situ broken vessels alludes to a context to briefly examine the development of the purposeful nature of its deposition as opposed to Cusco region during the LIP and early LH. The the gradual accumulation of a midden deposit. As ceramic style dominating the Cusco basin during this sequence is interpreted as representing a specially the whole of the LIP is Killke and Killke-related placed accumulation, the inclusion of what could be (Bauer and Alan Covey 2004: 74). Killke pottery is considered earlier ancestral elements within it—con- characterized by coil-built bowl and jar forms, with sisting of earlier charred and carbonized matter— the pots largely fired in oxidizing conditions (Ixer would be appropriate and could be supported by et al. 2014). The decoration encompasses geometric the presence of residual Huamanga and Viñaque designs executed in red and black bands, usually out- ceramics. lined in two or three black lines. Nested triangles and The date for context (813) (gallery fill) of cal AD cross-hatched motifs are common (Bauer and Alan 1280 again appears too early for the LH offering Covey 2004:74–75). Many sub-styles exist; these deposit associated with it. The presence of residual have been termed Killke-related and include Lucre LIP pottery from this context as well as the date and Colcha. These have been linked to localized pro- itself suggest that the soil matrix surrounding the duction centers and cultural and political traditions miniature and small vessels consisted of earlier (Bauer and Alan Covey 2004:75–76). Radical midden material brought in for the sealing of the regional settlement change occurred in the Cuzco offering event. The date associated with small find basin around AD 1000. Significant population <105> context (836) of cal AD 1355–1436 is likely growth typified this, with both established valley to be consistent with the dating of the offering. bottom sites expanding as well as new settlements This date, which could correlate with the early LH, appearing in the southern Cuzco basin. The northern agrees with the Inca and Provincial Inca ceramic com- basin saw large villages being established and agricul- ponent associated with these deposits and supports an tural systems expanded, while the Oropesa area was early LH origin for this event. The incorporation of largely abandoned (Bauer and Alan Covey 2004: the Soras territory within the lands controlled by 76–77). the Inca state, based on ethnohistorical data, is Both the increasing populations and growing agri- thought to have occurred during the reign of cultural potential resulted in significant intensification Pachacuti Inca Yupanqui (Meddens and Schreiber of the power base of the resident elite (Bauer and Alan 2010: 127–131). The new dates reported on here Covey 2004:76–77). This set the scene for the sub- support Bauer and Kellett’s assertions for a late- sequent Inca polity’s expansionist policies. The site tenth- or eleventh-century end date for Huamanga of Cuzco itself has been confirmed to have had signifi- and Viñaque pottery at MH valley floor sites, and cant, complex, and sizeable pre-Inca antecedents an LIP2 and LH one for mountain-summit sites (Bauer and Alan Covey 2004:77–78; Farrington associated with Chanca and Chicha as well as 2013). The Cuzco region—like Huancavelica, Arqalla- and Aya Orqo-style assemblages (Bauer and Ayacucho, and Apurimac—demonstrates consider- Kellett 2010). able variation in the detail of local development, with extensive competition between resident polities (Bauer and Alan Covey 2004:79–87; Covey 2003; Comparisons with the Cusco Region Heffernan 1996), which eventually reached its pinna- cle in the successful consolidation of the Inca state. Considering the prominence given to the Chanca in These developments in the Cuzco basin demonstrate Inca mythology with respect to the foundation of this region operated at a significantly more complex

40 Meddens and Vivanco Pomacanchari: The LIP ceramic traditions of Ayacucho, Apurimac, and Huancavelica

and more highly developed level of social, political, and economic organization than anything that was taking place at this time in the Huancavelica, Ayacucho, and Apurimac region. The notion that the LIP2 Chanca posed a credible threat to the early Inca state therefore should be considered as unlikely (Bauer et al. 2010; Bauer and Kellett 2010; Meddens and Vivanco Pomacanchari 2005).

Discussion

Significant variation exists in the LIP1 pottery styles Figure 37. Aya Orqo-style jar (teapot shape) (27), LIP2 without across the Huancavelica, Ayacucho, and Apurimac provenience [MRHA-054/INC RN-81710]. © F. Meddens. region. There are several distinct style groups, which by and large appear to derive a common origin in the Huamanga- and Viñaque-style assemblages. The distribution of the LIP2 ceramic traditions Huamanga may itself persist in the Huanta and throughout the departments of Ayacucho, Ayacucho area and may be in part contemporaneous Huancavelica, and Apurimac, with the data available, with these other LIP1 ceramics (e.g., Tanta Orqo, reflects only a broad expression of the known ethnic Qachisqo, Chanca and Chicha, etc.). groups and political divisions for this period across The derivations or borrowings evident in the cul- these three departments. There are strong indications tural assemblages attributed to LIP1 from that further examination of local assemblages will lead Huamanga-style predecessors are multiple and fre- to a higher resolution of cultural entities and possibly quent. These include among the vessel shapes a narrower definition of ethnic boundaries. Looking necked jars, face neck jars, bowls, cups, and— at the broader aspects of this, including the lithics among the rarer forms—a spouted vessel type assemblages and architecture, there appears to be a (Ochatoma Paravicino and Cabrera Romero 2001: common socio-political equivalence, in terms of 176–177 [Ollas con vertedera cuencos del estilo material culture, across this territory for the LIP Huamanga, Collecion particular: Celia Galvez de where these ethnic groups have a materially Verbist—top left]), which somewhat resembles a common origin. teapot (type 27). This example, although uncom- The Tanta Orqo material has significant stylistic mon, seems to have a considerable longevity with parallels with the Chanca and Chicha and Toqsa an LIP2 example being known (Figure 37). With assemblages. The painted decorative designs, particu- respect to the design motifs, outlined bands and larly the motifs comprising chains of ovals, stand out wavy line variants are common continuities in the as a commonality across these groups. Face neck jars early LIP1 Chanca and Chicha style. Similarly, a with round mold-made faces (Figure 38a and b), Viñaque-derived shape (a cup/kero) with rectilinear ovals and wavy line-based geometric designs are also grid motifs accompanied by a filler element also con- matched. The incurving animal lug bowls are indis- tinues in the LIP1 Chanca and Chicha style. A signifi- tinguishable across the stylistic groups (see González cant amount of additional work remains to be done, Carré 1992: 142, Figure 23c and Meddens 1991: but it is certainly possible that these LIP1 assemblages 226, Figure 11 for a Tanta Orqo and Chanca and and their regional variations reflect a degree of ethnic Chicha examples) (Figure 7). The association in the differentiation across the region. Andahuaylas and Lucanas–Apurimac (Chicha/Soras)

41 Ñawpa Pacha: Journal of Andean Archaeology

Huamanga material in these assemblages may indicate a stronger regional survival of these precursor designs in eastern Ayacucho and across tracts of Apurimac. The Tanta Orqo assemblages include design variants absent from the Chanca and Chicha and Toqsa groups, particularly those comprising modeled and incised motifs (González Carré et al. 1987: 48), encompassing incised outlined bands of series of small impressed circles. The divergent distribution of Tanta Orqo from Chanca, Chicha, and Toqsa requires further investigation. The apparent lack of overlap within the south-central and north- eastern areas of the distribution range (Figure 5)is Figure 38. (a) and (b) Tanta Orqo round, mold-made face from fi face neck jar. © F. Meddens. the result of insuf cient systematic archaeological work having been carried out in the area concerned. From the re-evaluation of parts of the material first regions of the oval design variants with the use of looked at by González Carré et al. (1987), it casually framed wavy line designs (Figure 12)is appears that at least some of this collection now can noted. be classified as Chanca and Chicha; the dispersal Framed wavy line motifs are very commonly found pattern may be indicative of long-distance population in the Huamanga style (Figure 39) and their qualitat- shifts anchored in a mitimae model, or a temporal ively slightly better execution than is observed in the difference between the assemblages. A fanciful Tanta Orqo and Toqsa material suggests a slightly notion may be to link it in part with the Inca earlier date for the Chanca and Chicha assemblages Chanca conflict mythology where a Chanca popu- than for their Tanta Orqo equivalents. This is sup- lation shift into the jungle territory on the eastern ported by the stratified sequence of LIP1 ceramics Andean slopes is described (Garcilaso de la Vega from the site of Chicha Qasa in the Chicha/Soras 1723 [1609]: book 3, XXVI–XXVII, 165–166). valley, where the pottery progressively becomes of This would be specifically relevant for the north- poorer quality and execution later in the succession. central part of the distribution range (Figure 5). Alternatively, the stronger stylistic links with Miniature “Chanca” ceramics (which must now be classified as Arqalla) have been reported in a cave burial in the Andahuaylas region (Kurin 2016: 85, Figure 4.7), as well as in excavations of a group burial at the large Chanca site of Achanchi in the Chanca territory, (Kellett et al. 2015). Neither the Charrangochayoc cave in Lucanas, nor the Cruz Muqu burial assemblage in the Sarhua district of western Víctor Fajardo, have such objects (Meddens and Branch 2010: 158–166). The illustrated vessels in Kurin (2016) show a characteristic group of Arqalla A. This type of miniatures has been discussed in some detail previously (González Carré et al. 1987; Figure 39. Huamanga-style open bowl, MH2 with outlined Meddens 1994; and this article) and their cultural vertical wavy line design (83) [LU5 1342–164/163/170/195/ association with other datable ceramic traditions has 203]. © F. Meddens. consistently been referenced as being with imperial

42 Meddens and Vivanco Pomacanchari: The LIP ceramic traditions of Ayacucho, Apurimac, and Huancavelica

or provincial Inca and/or local styles imitating Inca- any use of modeled and incised motifs other than style ceramics (González Carré et al. 1987; occasional hand-modeled faces on the necks of jars Lumbreras 1975; Meddens 1984; Vivanco (Figure 15). Clear instances of Chanca- and Pomacanchari 2001, 2002). The C14 dates reported Chicha-style pottery have been identified across the on above regarding the Arqalla-type material again Vilcashuaman and Cangallo provinces (Muyu Alto confirm an LIP2 to early LH date. The link [EA12]) (Benavides Calle 1976)(Figure 34), and between these types of vessels in Apurimac with EA22 Raqchi Pata (EA22) (Benavides Calle 1976) burial (Kurin 2016: 85) and offering contexts (Figures 35 and 36); however, these are found only (Meddens 1994) confirms that these miniature and as isolated examples within larger assemblages. This small ceramics had a ritually-charged aspect to the type of material is not found further to the northwest role they played. The AD 1160–1260 dating of the from sites around the Ayacucho valley (Huamanga Pucullu burial cave reported by Kurin (2016) suggests province), in the Huanta area (Huamani Diaz that the miniature vessels found here were added to 2014; Lumbreras 1975; MacNeish et al. 1981), or this ancestral tomb assemblage at a much later LH across the Department of Huancavelica (personal date as part of a continuing custom of ancestor observation). Again, Chanca- and Chicha-style worship. The distribution of the Arqalla A style material is absent from the south-west and west of and, indeed, Arqalla miniatures and small-sized Ayacucho, such as the provinces of Victor Fajardo vessels across the departments of Huancavelica, and Huancasancos (personal observation), the Ayacucho, and Apurimac (González Carré et al. region around Puquio (Vivanco Pomacanchari 1987; Matos Mendieta 1960), may reflect ethnic 1996), and the Lower Negromayo basin in Lucanas variability across the larger region. province (Camara and Roberto 2015). The Aya Orqo material has commonalities with the The territorial boundaries of the Chanca polity as Soras- and Jasapata-style material in vessel forms defined during early colonial times are relevant in (Valdez 2002) as well as in some of their casual this context. Contrasting these boundaries with the designs (Figure 40), although like the earlier distribution of the Chanca and Chicha pottery style Chanca and Chicha material the Soras variants lack where this is present in uniform assemblages with little or no admixture with other material allows us to argue that this style could reflect a Chanca ethnic identity. The area from which some of the pottery samples derive, in particular the material from the sites of Chicha Qasa (AP2–7) and Chiqna Jota (LU5), is relevant here. These two sites were located on either side of the projected boundary between the LIP2/LH Chanca and Soras polities, respectively. The reference in the 1561 document discussed by Julien (see above) to the settlement of Ayachica, pur- porting to date back to the 1539 Pizarro land grant, would be linked to the modern district and colonial authority of Pampachiri. This has been identified as the modern settlement of Chicha, located on the west bank of the Rio Chicha in the province of Lucanas and the Department of Ayacucho (Kurin Figure 40. Aya Orqo painted design (39) from material 2016). A local informant in the early 1980s (Don recorded in 2016 in Ayacucho and Chiqna Jota examples [LU5 Nicanor) indicated that the-then hamlet of Chicha 1342–542/614]. © F. Meddens. was a recent settlement dating back no more than

43 Ñawpa Pacha: Journal of Andean Archaeology

several decades, indeed he built the first house of what Chanca polities from the LIP into early colonial was to become this settlement. times do not demonstrate archaeologically significant Chicha is situated on the margin of the ancient or identifiable differences and therefore the territorial settlement of Chiqna Jota, and less than 0.5 km demarcation between ethnic Soras and Chanca south of the LH site of Iglesia Chayoc. Chiqna Jota people cannot be extended back into LIP1 using cer- was occupied from the MH to at least the later LH. amics alone. It seems that this ceramic style equivalence In 1586, this sector formed part of the repartimiento indicates a closer linkage in identity between the Soras of Atunsora or the encomienda of Hernando and Chanca polities or their predecessors than can be Palomino under the jurisdiction of the city of extrapolated from the ethnohistorical sources. Huamanga, and would have been a division of the The end of the MH period in the central Andes is area reduced under the village of San Pedro de marked by the large-scale abandonment of sites across Larcaya (the modern community of Larcay), occupied this region (Bauer and Kellett 2010). The current evi- by people who thought of themselves as Soras (de dence suggests there is a degree of variability in the Monzón 1965 [1586]: 220–248). region with certain valleys demonstrating a noticeable Pampachiri was in Chanca territory, and from early continuity of occupation. For example, in the Chicha colonial times to the present constituted the political valley, the site of Chiqna Jota (LU5) was continu- center of control for this sector, east of the Rio ously occupied from MH2 through the LIP and Chicha. It was part of the department of Ayacucho LH, and Tincoq (AP2–18) was occupied from in the later Republican period when, as now, the MH2 into LIP1. Where continuity exists, there is Chicha river constituted the provincial boundary clear evidence for stylistic differentiation of the local (Paz Soldan 1865: map of Ayacucho). Pampachiri pottery styles from the preceding MH ceramic tra- formed the reducción village in the province of dition. The exception to this, perhaps unsurprisingly, Andahuaylas on the east side of the Chicha river, may be represented by the later Huamanga pottery and it is referred to in the 1609 chronicle of style at sites in the Ayacucho and Huarpa valleys, as Guaman Poma de Ayala (Guáman Poma de Ayala it originated in this region and therefore had strong 1980 [1583–1615]). It clearly has earlier roots as evi- local roots. Evidence for its potential longevity has denced by the very early colonial church present in been demonstrated by Finucane et al. (2007)in the village (Barnes 1986; Hyland 2010), indeed late their analysis of material from the Ayacucho and prehistoric and early colonial offering and burial Huarpa valleys derived from burial contexts, where remains were identified in the early 1980s on the C14 dates indicate a much longer survival for eastern margin of the village as has the early LIP1 Huamanga-style ceramics than previously assumed, site of Chumayoc (AP2–6) immediately to the north. with elements of this tradition surviving to as late as As a toponym, “Ayachica” comes perhaps closest to AD 1300 (Finucane et al. 2007). This continuity is the designation of the present hamlet of Ayapampa, observed at Huari, Azangaro, Posoqoypata, and which is situated among an important group of carved Qasapampa (Finucane et al. 2007), as well as numer- stones of LH date (Meddens 2006). Alternatively, the ous other sites across the Ayacucho and Huanta site of Chicha Qasa may be an appropriate candidate as region (Pérez Calderón 2013: 165). it was occupied in the LIP and LH, although this site Various published sources suggest that the ceramic may be a little too far south and may have been within styles subsumed under the LIP Chanca tradition have the territory of an Aymara mitimae. Ayapampa was occu- their origin in the department of Huancavelica pied in the early colonial period as evidenced by several (González Carré 1992: 13, 75–78; González Carré late-sixteenth-/early-seventeenth-century olive oil jars and Pineda 1983). The reason for this notion resides in a collapsed building here.7 in part in the fact that the Pacarina of the Chanca The Chanca- and Chicha-style pottery assemblages peoples in an early chronicle source is said to have across the purported ethnic divide between Soras and been the lake of Choclo Cocha in Huancavelica

44 Meddens and Vivanco Pomacanchari: The LIP ceramic traditions of Ayacucho, Apurimac, and Huancavelica

(Cieza de León 1984 [1553]: XC, 239). This interpret- groups require significant re-evaluation and further ation is founded on ethnohistorical mythology (Bauer research. Thus, the idea that the Chanca nation’s et al. 2010:6–9). The area around Choclo Cocha is origins were centered on the area of Coclo Cocha devoid of MH or LIP1 cultural material (personal (lake) in Huancavelica is not supported (Bauer et al. observation of the authors). González Carré references 2010:6–9). It has been suggested that the collapse of the presence of 11 LIP Chanca sites (1987) near the the MH Wari state can be attributed to, or may have lake, which comprise the remains of burials from been associated with, a confrontation between the which pottery in all four Chanca styles8 has been ident- Wari state and the Chanca ethnic group (Lumbreras ified (1992: 76, 78). This would therefore include 1959, 1974: 233; Rostworowski de Diez Canseco material covering the whole of the LIP, from early to 2004:23–30; Zuidema 1989 [1967]). The overlap late. According to González Carré (1992: 78), the pres- of the ethnic territory of the later LH and early colonial ence of LIP1 material confirms that this area represents Hanan and Hurin Chanca ayllus with the distribution the point of origin for the Chanca ceramic traditions. of a high-density incidence of the Chanca and Chicha The earliest archaeological survey in the area around pottery tradition, shading into Soras and Lucanas/ the lakes was carried out in November 1945 by Julio Rucanas lands, needs to be considered. This pottery C. Tello’s assistants, Don Pablo Carrerra, Genaro style retains much higher qualitative characteristics Farfán, and Marino Conzales. They encountered than what follows in LIP2, suggesting a survival of rela- caves and rock shelters which included human and tively cohesive polities across the region following the animal bone remains, as well as a shrine, with circular disintegration of the Wari state. Whether this led to structures (which could be related to animal husbandry competition and potential conflict between late or pastoralist activities). The circular features comprise Huamanga style—using peoples in the Ayacucho a small number of what appear to represent temporary Huanta area—or alternatively Killke and Lucre— corrals and small shelter-type structures (Carrerra et al. using peoples in the Cusco region—remains uncertain 2014 [1945–1946]: 11–14). A derivation of the at present. The later LIP2 Aya Orqo and Arqalla tra- broader Chanca tradition ceramic styles from this ditions have a much wider distribution than the region on the current evidence appears unlikely or earlier Chanca and Chicha style and its linked settle- unproven. ment pattern suggests a much less cohesive, integrated, The scarcity of permanent occupation sites (unsur- and coherent social structure for this later period. prising, considering the area’s altitude with the lake There is no evidence for any social or political elite being at an elevation of over 4,500 masl), and the nor for high status or monumental religious architec- more nuanced picture presented by the four pottery ture across Apurimac, Ayacucho, and Huancavelica groups (where each group appears to include various during the LIP2. The archaeological evidence suggests regionally specific styles), supports an alternative the area was occupied by numerous competing groups, interpretation. Tombs and offering evidence may which may have coalesced at times when common derive from distant populations rather than a local stress factors favored this, but which did not constitute origin. This indicates an alternative explanation to complex, state-level, hierarchically organized society. that of the Chanca origin myth, as also confirmed Therefore, the Chanca were unlikely to have rep- in Bauer and colleagues’ discussion of this mythology resented a threat to any early or proto-Inca state devel- (Bauer et al. 2010: 609). oping in the Cusco region (Bauer et al. 2010; Meddens 2011; Meddens and Vivanco Pomacanchari 2005). Until recently, a commonly accepted scenario for Conclusions the demise of Wari was that it happened rapidly with widespread abandonment of Wari settlements, The preceding discussion suggests that several existing particularly in its heartland, followed by the develop- hypotheses about the Chanca and neighboring ethnic ment of a new LIP demographic pattern with

45 Ñawpa Pacha: Journal of Andean Archaeology

Figure 41. Tanta Orqo material from Huancavelica in the Koras domain. © F. Meddens. settlements being located on defendable hill and societal structure, recent thinking sees a more varied mountain-top positions; this model needs further pattern with the Wari loss of central control. For examination (Lumbreras 1974: 233, 1975; LIP1 and MH2, the disintegration of Wari state González Carré 1992; González Carré et al. 1987; organization appears to have been followed on Meddens and Schreiber 2010; Schreiber 1993). occasion by a post-Wari localized revival and survival Although Bauer and Kellett (2010) have a clear, tem- of relatively complex hierarchically organized ethnic porally defined shift of sites from the valley bottom groups under the leadership of kuraka-like political and slope locations in the Andahuaylas area, the structures. This is the case in the Chicha valley area, Chicha valley provides a more complicated picture as well as the Ayacucho and Huanta region with both new sites being established as well as pre- (Finucane et al. 2007; Pérez Calderón 2013) and existing ones successfully continuing to be occupied parts of Huancavelica, such as the Ranrapata area and expanding across the MH2 to early LIP divide. (Nils Ramiro Sulca Huarcaya and Roy Murillo, per- The Wari collapse is accompanied by a simplification sonal communication). of the societal structure with the loss of a definable A varied range of insular Huamanga- and Viñaque- elite, a qualitatively more constrained material derived ceramic styles can be identified across culture, and the loss of both elite and religious archi- Ayacucho and Huancavelica, subsumed under what tecture (González Carré et al. 1987; Meddens 2011). González Carré identified as an LIP1 ceramic tradition Although the demographic shift to defendable moun- titled Tanta Orqo (González Carré 1992: 58; González tain-top settlements for the LIP seems broadly Carré et al. 1987). This, we conclude, is more wide- correct, as does the simplification of material and spread and represented among its assorted localized

46 Meddens and Vivanco Pomacanchari: The LIP ceramic traditions of Ayacucho, Apurimac, and Huancavelica

6a,b and Figure 42) and Ranrapata domains9 (Figure 43a,b and Figure 44). Adefinable pottery tradition that, at present, can be most directly associated with the area known for the LIP2 and the LH to have been the territory occupied by the Chanca polities, as evident in LIP pottery styles across the research area, is limited to the LIP1 assemblages. Here the Chanca and Chicha material most closely follows the historically defined distribution of the upper and lower moieties of the Chanca ethnic group. These comprise the Chanca and Chicha styles as described in this article and as originally identified by Meddens (1985) and later designated Chanca by Kellett (2010: 386–541) and Bauer et al. (2010). Outside of this core area this material is found in appreciable quantities in the Lucanas province of Ayacucho in the zone during the LIP2 and LH closely associated with the Soras ethnic Figure 42. Koras-style LIP1 jar (Tanta Orqo) [LAB AQ180]. © fi F. Meddens. group. A variant of this material, identi ed as Toqsa (Figure 26) by Schreiber, is found in the Sondondo valley. Isolated parallels of the Chanca- and Chicha- type pottery have been identified in the Vilcashuaman and Caraybamba areas. The subsequent LIP styles (LIP2) are more ill-defined, being of lesser quality in form, with design and pastes that are significantly plainer in execution and more widely distributed across the three departments. Among these ceramic traditions, the Arqalla material constitutes the most recognizable and widest distributed group. The Qachisqo tradition, which has been attributed to LIP1, has been demonstrated to include elements of the Chanca and Chicha style (see above and González Carré et al. 1987). Within this pottery style a distinct class of small-sized face neck jar type vessels, hand modeled, with appliqué bulging facial features and convex necks, is present, which is distinct Figure 43. (a) and (b) Tanta Orqo material (LIP1) from enough to be classed as a separate recognizable tra- Ranrapata. © F. Meddens. dition. It shares its apparent largely “ritual” archaeological context (González Carré et al. 1987), deriving traditions including from Apurimac, the Chanca and from burials and offerings, with the later Arqalla Chicha, and Toqsa material from Lucanas, as well as material. other distinctly local subgroups from Ayacucho As previously stated, the Arqalla assemblages are (Lucanas), recognizable in the Negromayo valley frequently linked with burial and offering contexts. (Figure 41), from Apurimac in the Caraybamba assem- The group catalogued by González Carré et al. blages, and from Huancavelica in the Koras (Figures (1987) includes several distinct stylistic subgroups.

47 Ñawpa Pacha: Journal of Andean Archaeology

which comprises casually executed rounded or amorphous clusters of filler design elements, often contained within linear band features (González Carré et al. 1987: 106, 108, 109, 111). There are vessel forms and pastes, which once more display a slightly higher quality and greater complexity of design and form than is seen in the rest of the tradition, such as the case of an exterior painted beaker (Figure 45) (González Carré et al. 1987: 100 lower left) and a modeled camelid-shaped vessel form with painted exterior decoration (Figure 46) (González Carré Figure 44. Tanta Orqo material (LIP1) from Ranrapata. © F. et al. 1987: 104 lower left)), albeit interpreted as a Meddens. representation of a snail in a variant published by Valdez (2002: 402, Figure 14). These appear ill at There is a roughly modeled cluster comprising largely ease within the context of the remainder of the Aya smaller sized jars (see above) (Arqalla A). Then there Orqo style. There is an element which can be is the material with incised and impressed decorative clearly defined as a local imitation of LH Inca cer- elements below the rim (González Carré et al. amics, as characterized, for example, by Aya Orqo 1987:76–77) with an incurving or constricted rough aryballos forms illustrated in González Carré neck/upper body form (Arqalla B). The pastes here et al. (1987: 104 upper left). Within the currently tend to be harder and slightly better executed than available data sets for the LIP2 assemblages it those manifest in the Arqalla A group. There is a remains impossible to identify much detail of the further category with carelessly executed linear spatial distribution or cultural affiliations of most of designs (González Carré et al. 1987: 80), the latter the additional (sub-?)styles apparent in the Arqalla bearing similarities in execution to some of the and Aya Orqo assemblages, except for the elements LIP2 Soras-style ceramics from the Chicha Soras which draw on Soras- and Inca-derived parallels. valley. There are other possible subgroups present Within the readings of the Chanca wars, as high- but, as the material reviewed largely does not derive lighted in the early colonial chronicle sources, there from controlled excavation contexts, it is currently remains an unresolved question as to whether these impossible to extract these with much confidence. events reflect warfare that took place in the aftermath The Aya Orqo pottery includes various distinct sty- of the collapse of Wari or its loss of central control, or listic groups. These include a painted component

Figure 46. Aya Orqo modeled camelid-shaped jar with painted Figure 45. Aya Orqo painted beaker. © F. Meddens. decoration. © F. Meddens.

48 Meddens and Vivanco Pomacanchari: The LIP ceramic traditions of Ayacucho, Apurimac, and Huancavelica

—as explicitly stated in these accounts—as part of the then there would have existed sound reasons for the initial expansion of the Inca state. If the Inca poten- later Incas to claim these episodes as having been tate wished to be recognized by his neighbors as a resolved by them rather than by their predecessors. powerful ruler, he would have needed to demonstrate Unsurprisingly, the LIP pottery styles as reviewed his forceful generosity with them. This meant the here constitute a far more subtle picture, with many Inca ruler should be able to grant to subordinate more definable subgroups and diversity than pre- kurakas wives, textiles, sumptuous objects, coca, etc. viously reported. This is clearly indicative of a much The Inca head of state would have needed to more complicated and locally focused cultural develop- provide a multitude of high-quality gifts, which ment across the region than previously noted, whether within the political and economic structure of reci- archaeologically or ethnohistorically. procity would in return provide him with a willing workforce (Rostworowski de Diez Canseco 2014 [1997]: 153–154). The transitive nature of gifting Acknowledgments animated objects in these exchanges would allow the Incas to be generous and to initiate reciprocal We are grateful to staff of the Ministry of Culture, the arrangements on a large scale. Universidad Nacional San Cristobal de Huamanga, These power relations and how these were managed the Museo Regional de Huancavelica, and the through a system of gifting of animated goods by Colegio Jose Carlos Arguadas; as well as Maximo powerful kurakas to effect dominance over rival Sanchez Huincho, Edgar Alindro Media Candiote, lords needs to be understood. The LIP2 material Edgar Davila Vargas, Nils Ramiro Sulca Huarcaya, culture available to the polities of Apurimac, Edison Mendoza M., Jorge R. Camara, and Ayacucho, and Huancavelica was qualitatively Katherina Schreiber who allowed us access to their nowhere near as sophisticated as what the contempor- collections and unpublished material without which ary Killke, Lucre, and subsequent Inca groups in the this study would not have been possible. Cuzco region were capable of producing. This alone The authors are grateful to Brian Bauer, Alexandra would have placed the former in a significantly subor- Morgan, Bill Sillar, and Katharina Schreiber for com- dinate position to the latter. menting on earlier versions of this article. We thank As noted in earlier papers, the limited material Christine Hastorf for her encouragement, and sophistication and lack of social or political hierarchy Christine Hastorf and Kristyn Hara for the wood in the LIP2 sites across Ayacucho, Apurimac, and identifications necessary for the C14 dates reported Huancavelica contrasts with the advanced material on. We are also very grateful to Jerry Moore and an culture and complex site hierarchies which can be anonymous reviewer for their help and comments. recognized for the contemporary LIP2 and early LH We are enormously indebted to Mark Roughly for traditions across the department of Cuzco (Covey getting the illustrations in a state fit for publication. 2006; Meddens and Vivanco Pomacanchari 2005). Frank Meddens dedicates this article to his wife This renders it unlikely that the “Chanca” as a Beverley whose unswerving backing, support, and nation, with or without allies, would have formed a suf- encouragement made repeated Peruvian trips possible ficiently socially coherent and integrated entity to have over many years and without whom the required constituted a threat to the Incas during the later part of efforts would have become unstuck long ago. the LIP. This leaves open the question of whether such rivalries would have been practically more likely at the end of the MH, as suggested by Zuidema and others Funding (Lumbreras 1958, 1974; Rostworowski de Diez Canseco 2004; Zuidema 1989 [1967]), or during This paper would not have been possible without the LIP1. Indeed, if such events occurred during LIP1 support of the British Academy and Leverhulme

49 Ñawpa Pacha: Journal of Andean Archaeology

Trust whose research grants allowed the authors to References Cited carry out the necessary work. Arco Parro, Alberto 1923 Dónde vivían los Chankas? Inca I(4):970–974, Lima. Notes Barnes, Monica 1986 Representations of the Cosmos: A Comparison of 1 Worth noting in this context is that aspects of this the Church of San Cristobal de Pampachiri with story remain current within present-day historic the Coricancha Drawing of Santacruz Pachacuti notions for the department of Ayacucho. For Yamqui Salcamaygua. In Perspectives on Andean example, the village of Taulli, in the province of Prehistory and Protohistory, Papers from the Third Huancasancos and the district of Carapo, which Annual Northeast Conference on Andean remained largely unaffected by the civil war of the Archaeology and Ethnohistory, edited by Daniel – 1980s, by either the activities of the army, paramili- H. Sandweiss and D. Peter Kvietok, pp. 145 taries, or Sendero Luminoso, is said to have been 157. Cornell University, Ithaca, NY. protected by a large stone boulder situated on the Bauer, Brian S. access route to the village. This boulder is stated to 1999 The Early Ceramics of the Inca Heartland, have become animated at times of attacks on the Fieldiana. Anthropology, New Series, No. 31 – community, when it moved in the way of any 13 121. bullets fired at the village (Francisco Ferreira, per- 2004 Ancient Cuzco, Heartland of the Inca. University sonal communication). of Texas Press, Austin. 2 For example, as noted, Spanish sources claim to have Bauer, Brian S., and R. Alan Covey seen the remains of fallen Chanca warriors still 2004 The Development of the Inca State (AD 1000- present and preserved on the Ichupampa battlefield 1400). In Ancient Cuzco: Heartland of the Inca, – when they first came across it; however, even with edited by Brian S. Bauer, pp. 71 90. University this example, it would then have been difficult to of Texas Press, Austin. objectively establish what these human remains rep- Bauer, Brian S., and Lucas C. Kellett resented and is now patently no longer possible. 2010 Cultural Transformations in the Chanka 3 Lucanas is the current spelling of the earlier Rucanas, Homeland (Andahuaylas Peru) during the Late – which references the ethnic group but at present Intermediate Period (AD 1000 1400). Latin references largely the geographic region formerly American Antiquity 21(1):87-111. occupied by the Rucanas. Bauer, Brian S., Lucas C. Kellett, and Miriam Aráoz Silva, 4 Concerns that the document could be a seventeenth- with contributions by Sabine Hyland and Carlo Socualaya century forgery produced to assist an illegitimate son Dávila of Diego Maldonado in a property dispute have been 2010 The Chanka, Archaeological Research in articulated (Kurin 2016:60–64); however, the Andahuaylas (Apurimac), Peru, Monograph 68, authors are happy to consider it as genuine. Cotsen Institute of Archaeology Press. 5 We will continue to use Chanca and Chicha jointly Benavides Calle, Mario throughout this article as both terms are now found 1976 Yacimientos arqueologicos en Ayacucho. in the published literature (Meddens and Vivanco Universidad Nacional de San Cristobal de Pomacanchari 2005: 81–82, 91–92; Meddens and Huamanga, Departamento Academico de Schreiber 2010: 146) and opting for one or the Ciencias Historico Sociales, Ayacucho. other or choosing to use a third alternative would 1984 Carácter del estado Wari. Universidad Nacional de serve only to confuse matters. San Cristóbal de Huamanga, Ayacucho. 6 Specific locational information on sites is available to Betanzos, Juan de scientific investigators by request to the senior author. 1987 [1551] Suma y narración de los Incas. Ediciones 7 Middle-style olive jars as defined in Deagan (1987: Atlas, Madrid. 33–34). Cabello Valboa, Miguel 8 Tanta Orqo, Qaschiqo, Arqalla, and Aya Orqo as 1951 [1586] Miscelánea antártica. Universidad defined by González Carré et al. (1987). Nacional Mayor de San Marcos, Lima. 9 In Lucanas, Aymaraes, and Acobamba in Ayacucho, Camara, Guerrero, and Jorge Roberto Apurimac, and Huancavelica, respectively. 2015 Pukullupata; un asentamiento del Período

50 Meddens and Vivanco Pomacanchari: The LIP ceramic traditions of Ayacucho, Apurimac, and Huancavelica

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