﻿106 
  SOUTH 
  AMERICAN 
  INDIANS 
  [B. 
  A. 
  B. 
  Bull. 
  143 
  

  

  Keen 
  ay 
  influence 
  has 
  been 
  noted 
  in 
  various 
  Coastal 
  cultures, 
  and 
  

   recently 
  pure 
  Recuay 
  materials 
  have 
  been 
  reported 
  in 
  the 
  lower 
  

   Santa 
  Valley. 
  

  

  In 
  the 
  North 
  Highlands, 
  the 
  Recuay 
  style 
  has 
  been 
  found 
  strati- 
  

   graphically 
  under 
  the 
  Wilkawain-Tiahuanaco 
  Middle 
  Period. 
  Recuay 
  

   is 
  placed 
  in 
  the 
  post-Chavfn 
  horizon 
  on 
  stylistic 
  grounds 
  and 
  on 
  its 
  

   outside 
  affiliations. 
  For 
  example, 
  the 
  Mochica 
  Period 
  on 
  the 
  North 
  

   Coast 
  shares 
  many 
  elements 
  with 
  Recuay, 
  and 
  likewise 
  the 
  Gallinazo 
  

   Period, 
  which 
  follows 
  Mochica, 
  has 
  Recuay 
  fragments 
  mixed 
  with 
  it. 
  

   A 
  White-on-red 
  style 
  is 
  found 
  in 
  a 
  post-Chavin 
  position 
  in 
  the 
  North 
  

   Highlands, 
  but 
  its 
  chronological 
  relationship 
  with 
  Recuay 
  is 
  as 
  yet 
  

   unknown. 
  

  

  The 
  Recuay 
  culture 
  is 
  represented 
  by 
  a 
  distinctive 
  ceramic 
  style, 
  an 
  

   architectural 
  style, 
  and 
  a 
  stone-carving 
  style. 
  Indirect 
  evidence 
  

   suggests 
  proficiency 
  in 
  weaving, 
  although 
  specimens 
  of 
  cloth 
  have 
  not 
  

   been 
  preserved. 
  Likewise, 
  copper 
  pins, 
  needles, 
  and 
  pendants, 
  a 
  few 
  

   bone 
  objects 
  and 
  some 
  minor 
  shell 
  objects 
  are 
  all 
  associated. 
  

  

  Recuay 
  ceramics 
  are 
  noted 
  for 
  their 
  varied 
  shapes 
  (pi. 
  34, 
  a-c). 
  

   Twelve 
  major 
  shape 
  categories 
  are 
  recognized, 
  but 
  the 
  variation 
  

   within 
  each 
  is 
  great, 
  due 
  in 
  part 
  to 
  the 
  fact 
  that 
  many 
  vessels 
  were 
  

   hand-modeled. 
  These 
  principal 
  shape 
  categories 
  are: 
  (1) 
  open 
  

   bowls, 
  with 
  and 
  without 
  annular 
  bases; 
  (2) 
  conical 
  handled 
  dippers 
  and 
  

   bowls; 
  (3) 
  goblets; 
  (4) 
  tripod 
  bowls; 
  (5) 
  jars 
  with 
  high 
  flaring 
  col- 
  

   lars; 
  (6) 
  jars 
  with 
  wide 
  disklike 
  rims; 
  (7) 
  collar 
  vessels 
  with 
  short 
  

   bridges 
  to 
  a 
  modeled 
  head 
  (fig. 
  7), 
  figure, 
  bird, 
  or 
  animal; 
  (8) 
  double 
  

   jars; 
  (9) 
  flat-topped 
  jars 
  with 
  small 
  figure 
  modeling; 
  (10) 
  stirrup- 
  

   spout 
  (fig. 
  7, 
  a) 
  and 
  trifid-spout 
  jars; 
  (11) 
  modeled 
  vessels, 
  including 
  

   castles, 
  llamas 
  (fig. 
  8, 
  b), 
  fruits, 
  heads 
  and 
  the 
  like; 
  (12) 
  clay 
  trumpets, 
  

   both 
  straight 
  and 
  coiled. 
  

  

  Monochrome 
  red, 
  black, 
  brown, 
  and 
  white 
  wares 
  are 
  common, 
  

   particularly 
  in 
  the 
  refuse 
  collections. 
  Ceremonial 
  pottery 
  is 
  deco- 
  

   rated 
  by 
  painting 
  and 
  modeling. 
  Some 
  of 
  the 
  painting 
  is 
  positive, 
  in 
  

   red 
  and 
  white, 
  or 
  white 
  and 
  black. 
  More 
  characteristic, 
  however, 
  

   is 
  two- 
  and 
  three-color 
  negative 
  painting 
  in 
  which 
  again 
  black, 
  white, 
  

   and 
  red 
  colors 
  are 
  typical. 
  Vessels 
  are 
  modeled 
  into 
  the 
  shapes 
  of 
  

   castles, 
  llamas, 
  and 
  the 
  like, 
  and 
  small 
  modeled 
  figures 
  serve 
  as 
  ap- 
  

   pendages. 
  Men 
  with 
  shields, 
  earplugs 
  and 
  long 
  clubs 
  are 
  represented, 
  

   but 
  in 
  every 
  sense 
  the 
  modeling 
  is 
  inferior 
  to 
  the 
  Mochica 
  culture. 
  

  

  In 
  the 
  painted 
  design, 
  the 
  jaguars, 
  condors, 
  and 
  serpents, 
  all 
  highly 
  

   conventionalized, 
  are 
  typical 
  designs. 
  For 
  example, 
  the 
  Recuay 
  

   jaguar 
  has 
  an 
  angular 
  body 
  and 
  a 
  large 
  comb 
  which 
  projects 
  from 
  the 
  

   head. 
  Geometric 
  elements 
  are 
  either 
  combined 
  with 
  the 
  figure 
  

   painting 
  or 
  used 
  alone. 
  These 
  include 
  parallel, 
  straight 
  and 
  wavy 
  

   lines, 
  cross-hatching, 
  scrolls, 
  steps, 
  triangles, 
  circles, 
  diamonds, 
  zig- 
  

   zag 
  lines, 
  rows 
  of 
  dots, 
  and 
  crosses. 
  

  

  