Modeled fruit Chimu stirrup spout bottle with a human figure applique

Modeled fruit Chimu stirrup spout bottle with a human figure applique

This piece is a stirrup-spout vessel, attributed to the Chimu culture, that resembles a pacay fruit. The Chimu were an expansionist culture that dominated the arid Chicama Valley and the North Peruvian coast during the Late Intermediate Period (900-1476 CE). The extremely dry climate gave rise to vast developments of irrigation systems and canals that would serve to improve the Chimu’s expansionist interests, which were dependent on the empires ability to control agricultural resources. It is then no surprise that the ceramics of this culture reflected interest in agricultural products and ideas, such as the legume-like figure depicted in this piece. However, it is not only the ruling classes interests in agricultural control that influenced the depiction of agricultural subjects in Chimu ceramics. The manifestation of this agricultural theme can also be attributed to the overall organization of the empire. Maintenance of major and rural administrative centers allowed for the control and distribution of agricultural goods across the empire. In fact, many poorer residents, including Chimu potters often of lower status, heavily relied on these systems for their own sustenance.

The stirrup-spout is the most frequent ceramic form attributed to the Chimu culture. The vast number of similar vessels emerged because of the Chimu’s strict hierarchical political and social organization. The Chimu culture is unique in that it is commonly characterized as favoring quantity over quality; This is associated with the Chimu elite’s concern with aggregating wealth, often in the form of ceramic and metallurgic pieces, to maintain their status. To meet the demand, Chimu potters utilized vertical bivalve molds to produce ceramics such as this one. The use of these molds allowed for both ease and standardization of production. However, with standardization and increased production came both less sophisticated and distinctive ceramics; These ceramics, as with this piece, relied on modeled forms and surface reliefs to retain their own individual character.

This piece distinguishes itself from other similar stirrup spout forms in its subject matter and detail. On the left arm of this piece is a stylized human figure appliqué that is continuous with the spout juncture. The human figure appliqué found at the spout juncture is a common iconographic element of Chimu ceramics. In similar vessels, this applique takes the form of monkeys, birds, and other animals. While there is no definitive reason for this particular iconography in Chimu art, similar appliques are featured in Moche (Phase V) ceramics -- the culture just preceding the Chimu. It is possible that these appliques are simply a continuation of the Moche style.

While there are features of this piece that distinguish it from other vessels, there are also many features that characterize it as a Chimu piece. For example, the highly burnished, black surface of this piece (a result of firing ceramics in environments deprived of oxygen) is a feature that characterizes Chimu art. In addition, on one surface of the body are both small circular repetitive patterns that decorate the surface of this piece. This is a common iconographic element found in Chimu art that also happens to reflect increased mass production because these patterns are produced by paddle and anvil technology often utilized by Chimu potters.

Chimu

Middle Horizon (600-1000 CE)

Late Intermediate Period (1000-1438 CE)

Late Horizon (1438-1532 CE)

Peru--North Coast

Three dimensional object

Ceramic

16 (d) c 18.5 (h) cm.

6.3 (d) x 7.3 (h) in.'

1247-4

H. P. Hill Collection

Art and Art History Collection (AAHC), College of Fine Arts, The University of Texas at Austin

If you would like to publish this image in print or electronically, please contact the Curator of the Art & Art History Collection, Dr. Astrid Runggaldier, at astrid@austin.utexas.edu.