

PERUVIAN ART 
figure until their attention is called to other designs where practically 
the same form of fish is shown, but under conditions that make its true 
nature more apparent. See Figs. 1-3 on Plate IT. 
Fig. 20 is found both on cloth and pottery, in the coast region. 
MAN AND MYTHOLOGICAL CHARACTERS 
PLATE V 
Fig. 1 is from tapestry from Surco. 
Fig. 2 was taken from a long cotton belt from Chancay. 
Fig. 3 shows a woven tapestry design from Pachacamac. It is in 
the Tiahuanaco style and probably represents the puma god. Their 
fondness for combining different animal figures has been spoken of. 
Note near the bottom, to the right, the bird head and neck, and to the 
left of it a puma head with its ring nose. Compare this head with those 
on Plate IV, Figs. 2, 3, 4, and 9. 
Fig. 4. This conventionalized human figure is common in many 
parts of Peru. The head occupies the center of the design, and the 
arms and legs have degenerated into scrolls. 
Figs. 5-6 are painted on Nazca pottery. 
Fig. 7. In this design the man’s headdress, arms, and legs have 
turned into frets. 
Figs. 8-9 are from painted decorations on Nazca pottery. Fig. 8 
shows a face very common on vessels from that locality, especially on 
the tall, cylindrical ones. | 
Fig. 10 shows a human head with feather headdress. This form of 
representing feathers is common all over the coast region. It is painted 
on a pottery vessel from Pachacamac. 
Fig. 11, also from Pachacamac pottery, needs no comment. 
_ Fig. 12 is woven in a web from Ancon. It shows a headdress of two 
feathers and has the ear represented in a curious way that seems to be 
peculiar to Peruvian art. We find this same ear in animal figures. See 
the puma head at the lower part of Fig. 3 on this Plate. Dr. Arthur 
Baessler has commented at some length on this subject, and styles this 
figure “‘a misdrawn ear.’”! 
1 Ancient Peruvian Art, Ed. A. H. Keane. Description of Plates 136-139. New 
York, 1902-1903. 
17 
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