73
boring and distant. These beautiful objects were
remarkably well crafted, as exemplifi ed by the
earrings, rings, and necklaces of the Lady of Cao
and the Priestess of Chornancap.
This exhibition is unquestionably a milestone.
Beyond the wealth of material on display, it represents
a turning point in the way in which Andean
societies will be presented in European museums
in the future.
Le Pérou avant les Incas
Through April 1, 2018
Musée du Quai Branly – Jacques Chirac
quaibranly.fr
NOTES
1. Walter Alva (1988), “Discovering the New World’s Richest
Unlooted Tomb,” National Geographic, 174 (4): 510–549.
Washington, D.C., National Geographical Society.
2. In his article, “The Thematic Approach to Iconography,”
published in 1977 in Pre-Columbian Art History, Selected
Readings (A. Cordy-Collins and J. Stern (eds.), Palo Alto,
Peek Publication, p. 407–420), Christopher Donnan uses
this term to describe a double scene in which, on the lower
part, a priest is seen slitting the throat of a naked prisoner
whose hands are tied, and his blood pours into a bowl. On
the upper part, above a double-headed serpent, a group
of four fi gures designated A, B, C, and D are seen. These
are the spreading fi gure (the Lord of Sipán), the owlpriest,
and the warrior priest and priestess. The latter pass
the bowl containing the blood to one another and then
present it to fi gure A, who represents the main Moche
deity.
3. Régulo Franco (2009), Mochica. Los secretos de Huaca
Cao Viejo. Lima: Fundación Augusto N. Wiese y Petrolera
Transoceánica S.A.; Santiago Uceda y Moises Tufi nio
(2003), El complejo arquitectónico religioso Moche de
Huaca de la Luna: una aproximación a su dinámica
ocupacional in Moche: hacia el fi nal del milenio.
Actas del Segundo Coloquio sobre la Cultura Moche
(Trujillo, August 1–7, 1999), Santiago Uceda and
Elías Mujica (eds.), vol. II, Lima, Universidad
Nacional de Trujillo y Pontifi cia Universidad Católica
del Perú, 179–228.
4. Christopher Donnan and Luis Jaime Castillo
(1992), “Finding the Tomb of a Moche Priestess,”
Archaeology 45 (6), New York: The Archaeological
Institute of America, 38–42.
5. Régulo Franco (2008), “La Señora de Cao; in Señores
de los reinos de la Luna,” in Colección Arte y Tesoros del
Perú, compiled by Krzysztof Makowski, Lima: Banco de
Crédito del Perú, 280–287.
6. Carlos Wester (2012), Sacerdotisa Lambayeque de
Chornancap, Misterio e Historia. Ministry of Culture,
Department of Museums, Lima.
7. John Verano (2000), “Paleontological Analysis of Sacrifi cial
victims at the Pyramid of the Moon, Moche River Valley,
Northern Peru,” Chungará 32 (1), Arica: Department of
Anthropology of the University of Tarapacá, 61–70.
PERU BEFORE THE INCAS
FIG. 9 (below): Stirrup vessel
with female deity. Late
Moche, Peru. AD 500–650.
Terracotta, pigment. H: 22.2 cm.
San José de Moro Archaeological
Program, inv. M-u743-c1.
© Musée du Quai Branly – Jacques
Chirac. Photo: Eduardo Hirose.
© Lima, San José de Moro.
Archaeological Program – PUCP,
Ministère de la Culture du Pérou.
/quaibranly.fr