Peru

The famous archaeological site of San José de Moro (SJM) located in the Jequetepeque Valley (JV) represents one of the best-preserved pre-Columbian Mochica cemeteries uncovered along the north coast of Peru. SJM was a regional ritual centre where elites and the general population of all JV met to celebrate ceremonial events. Its role as a place of regional integration and coordination continued long after the disappearance of the Mochica and SJM was continuously occupied throughout the Late Mochica Period (8th-9th c. AD) and into the Transitional Period (9th-10th c. AD). Even though the abandonment of Mochica traditions in SJM (funerary practices and ceramic styles) appears quite rapid, SJM was constantly occupied whereby local traditions were being reshaped. During this time various styles of ritual ceramics from different traditions (Mochica, Cajamarca and Wari) were buried within ceremonial and funerary contexts. This research involves archaeometric studies of excavated painted diagnostic ceramic sherds representing four distinctive pre-Columbian typologies present at this site-Mochica fineline bichrome, Mochica fineline polychrome, coastal Cajamarca and Highland Cajamarca ceramics. For this study handheld portable X-ray fluorescence spectrometer (HHpXRF) instrumentation was operated in situ in order to (1) perform non-destructive trace element analysis (2) to assess if Cajamarca ceramics were further elaborated using the same raw materials employed by the Mochica potters of SJM, and (3) to establish whether or not Mochica and Cajamarca ceramics were truly technological markers in the lower part of the Jequetepeque valley. Results: The chemical elements detected in the ceramic bodies by the portable technique and used for this analysis were: K, Ca, Mn, Fe, Zn, Ga, As, Rb, Sr and Y. All sherds that were identified as aesthetically different also differed chemically with the exception of the Mochica fineline bichrome and the Mochica fineline polychrome, which were produced in a coastal workshop using the same local raw materials. In addition, these sherds were not elaborated employing the same recipe used in the Coastal and Highland Cajamarca productions. Conclusions: Mochica ceramic productions are stylistically and chemically different from both Coastal and Highland Cajamarca productions. Ceramics from San José de Moro are technological markers of two cultures (Mochica and Cajamarca) in the lower part of the Jequetepeque Valley that interacted during Late Mochica and through the Transitional periods.

]. (siglos ii-x d.C., costa norte de Perú), este objetivo es aún central en la investigación arqueológica y arqueométrica contemporánea. En este artículo, proponemos una revisión y una síntesis de las informaciones concernientes a la cronología relativa de la sociedad mochica. Al mismo tiempo, presentamos un inventario actualizado de fechas 14 C mochicas obtenidas desde la década de los 1970. El objetivo es reevaluar la información temporal y estilística conocida y aceptada por la comunidad arqueológica.

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Ancient empires developed diverse strategies of political and cultural domination in their conquered territories. One such strategy involved introducing imperially branded goods that reinforced a legitimizing ideology. The appearance of intrusive styles may be an indicator of political dominance; however, the introduction of new technologies is a stronger indicator of interpersonal engagement between people in the empire's core and dominated regions. In this paper, we specifically focus on innovations in colors, pigments, and decoration of intrusive, local, and hybrid ceramic styles resulting from the interaction between the Wari Empire (600-1050 CE) of the Central Andes and local societies from the north and south coast of Peru. These innovations can be documented long after the Wari influence faded in each region. By integrating archaeological and archaeometric perspectives, we examine techno-decorative innovations among locally produced pottery within the imperial interaction spheres. This paper presents and compares the results of chemical and mineral analyses conducted on samples of pigments on decorated ceramics from the Valleys of Jequetepeque, Nasca, and Moquegua. Results indicate that Wari could have directly promoted the circulation of specific ceramic pigments that guaranteed a particular "Wari experience of color." We argue that an inter-site approach to the study of colors, pigments, and decoration can better contribute to the understanding of politics and ceramic production relationships, religious syncretism, and cultural change in the Andean past.