A Survey of Ancient Peruvian Art. 371 



the study of this period should be given, and the reader is urged 

 to examine some of his Plates.^" When we compare Tiahu- 

 anaco II art with "Epigonal" we at once see wherein the dif- 

 ference Hes. The latter is but an unskillful and decadent attempt 

 to continue the traditions of the former. Again and again it 

 is possible to recognize portions of well-remembered Tiahuanaco 

 II motifs on "Epigonal" artifacts, but always the latter are 

 far inferior to their prototype in both line and color. So close 

 is the resemblance sometimes that one would be tempted to 

 say that the "Epigonal" things were indeed made in the Tiahu- 

 anaco II period, but by unskilled artists. This, however, is inter- 

 dicted by the irrefutable stratigraphic evidence. The "Epigonal" 

 wares and textiles occur in later strata than the Tiahuanaco II 

 artifacts. The Weeping God, the puma-heads, the bird-figures 

 and many other Tiahuanaco II motifs occur again in "Epigonal" 

 art. 



Closely associated with the "Epigonal" art is another art- 

 type which, for want of a better name, we call red- white-black 

 ware after the colors in which it is painted. This type is asso- 

 ciated with the coast from Pachacamac northwards to Trujillo 

 (Chimu) and even beyond; it occurs in the same strata with 

 "Epigonal" at Pachacamac, which proves the approximate con- 

 temporaneity of the two. Our Plate XI, Figures i and 2, shows 

 two excellent examples of this ware. The originals, in the 

 Peabody Museum, Cambridge, Mass., came from Recuay, north- 

 ern coast region. The colors are red, white and black. In 

 Figure i we see a dragon-like figure that is very distinctive of 

 this site. As Joyce points out,^^ it is very similar to a motif 

 found on some Proto-Chimu vases, and a crude derivative of 

 it appears in northwestern Argentina. In the face that adorns 

 the front of the vessel's neck we perceive a very strong tinge 

 of Proto-Chimu tradition. The ear-plugs and headdress are 

 both reminiscent of the analogous portions of the vase shown 

 in Plate I, Figure 2. A great deal less skill in modelling is 

 shown, however. 



To sum up the features of the "Epigonal" and red-white-black 

 arts, we may say that each flourished in the area in which the 



'" Uhle, 1903, Plates V and VI. 

 " Joyce, 1912, p. 183. 



