Notes 1. This healing mesa was described in Donald Joralemon and Douglas Patronage at Cerro Mayal, Peru,” in Moche Art and Archaeology in Sharon, Sorcery and Shamanism: Curanderos and Clients in Northern Ancient Peru, edited by Joanne Pillsbury, Studies in the History of Peru (Salt Lake City: University of Utah Press, 1993), pp. 111–22. Art 63, Center for Advanced Study in the Visual Arts, Symposium On mesas, see Douglas Sharon, “Andean Mesas and Cosmologies,” Papers 40 (Washington, D.C.: National Gallery of Art, 2001), pp. Ethnobotany Research and Applications 21 (2021), pp. 1–41, https:// 158–75. ethnobotanyjournal.org/index.php/era/article/view/2623. On 13. A detailed explanation of the construction technique can be found huacas, see Tamara L. Bray, “An Archaeological Perspective on in Christopher B. Donnan and Donna McClelland, Moche Fineline the Andean Concept of Camaquen: Thinking through Late Pre- Painting: Its Evolution and Its Artists (Los Angeles: UCLA Fowler Columbian Ofrendas and Huacas,” Cambridge Archaeological Journal Museum of Cultural History, 1999), pp. 28–31, 44–45. 19, no. 3 (October 2009), pp. 357–66. 14. Ibid., pp. 13–23. 2. Débora L. Soares, “Working with Huacos: Archaeological Ceramics 15. Michele L. Koons, “External versus Internal: An Examination of and Relationships among Worlds in the Peruvian North Coast,” Moche Politics through Similarities and Di昀昀erences in Ceramic Journal of Social Archaeology 21, no. 3 (2021), pp. 364–65. Style,” in Ceramic Analysis in the Andes, edited by I[sabelle C.] Druc 3. Jean-François Millaire, “The Manipulation of Human Remains in (Blue Mounds, Wis.: Deep University Press, 2015), pp. 57–82. Moche Society: Delayed Burials, Grave Reopening, and Secondary 16. Donnan and McClelland, Moche Fineline Painting, pp. 186–89. O昀昀erings of Human Bones on the Peruvian North Coast,” Latin 17. On Wrinkle Face, see ibid., pp. 64–66. On Moche art and mythol- American Antiquity 15, no. 4 (December 2004), pp. 371–88. ogy, see Krzysztof Makowski, “Las divinidades en la iconografía 4. On the relationship between curanderos and looters, see Soares, mochica,” in Los dioses del antiguo Perú, edited by Krzysztof “Working with Huacos,” pp. 365–68. Makowski, 2 vols. (Lima: Banco de Crédito del Perú, 2000), vol. 1, 5. Prudence M. Rice describes clays as “a 昀椀ne-grained earthy material pp. 137–75; Jürgen Golte, Moche, cosmología y sociedad: Una inter- that becomes plastic or malleable when moistened” and as a result pretación iconogr愃Ā昀椀ca (Lima: Instituto de Estudios Peruanos; Cuzco: of the natural degradation of rock-forming minerals in the environ- Centro Bartolomé de Las Casas, 2009). ment; Prudence M. Rice, Pottery Analysis: A Sourcebook (Chicago: 18. Douglas Sharon and Christopher B. Donnan, “Shamanism in Moche University of Chicago Press, 1987), p. 36. The exact composition of a Iconography,” in Ethnoarchaeology: Monograph IV—Archaeological particular clay varies according to regional geology, with traditional Survey, edited by Christopher B. Donnan and C. William Clewlow potters mostly recognizing them in the landscape owing to their Jr. (Los Angeles: Institute of Archaeology, University of California, varying plasticity. 1974), pp. 50–79. 6. Kevin J. Vaughn, “Craft and the Materialization of Chie昀氀y Power 19. Cathy Lynne Costin, “Techno-aesthetic Ceramic Traditions and the in Nasca,” in Foundations of Power in the Prehispanic Andes, edited E昀昀ective Communication of Power on the North Coast of Peru,” by Kevin J. Vaughn, Dennis Ogburn, and Christina A. Conlee, World Archaeology 53, no. 5 (December 2021), pp. 881–902; Izumi Archeological Papers of the American Anthropological Association Shimada, “Sicán Metallurgy and Its Cross-craft Relationships,” 14 (Arlington, Va.: American Anthropological Association, 2005), Boletín Museo del Oro, no. 41 (1996), pp. 27–61. pp. 113–30. 20. On Inca pottery and rank, see Craig Morris, “Enclosures of Power: 7. Christina A. Conlee, “Decapitation and Rebirth: A Headless Burial The Multiple Spaces of Inca Administrative Palaces,” in Palaces from Nasca, Peru,” Current Anthropology 48, no. 3 (June 2007), of the Ancient New World: A Symposium at Dumbarton Oaks, 10th pp. 441–42. and 11th October 1998, edited by Susan Toby Evans and Joanne 8. Moisés Tu昀椀nio et al., “Excavaciones en la Sección 4 de Huaca del Pillsbury (Washington, D.C.: Dumbarton Oaks Research Library and Sol,” in Proyecto Arqueológico Huaca de la Luna: Informe técnico Collection, 2004), pp. 308–10. 2013, edited by S[antiago] Uceda and R[icardo] Morales (Trujillo: 21. Chemical analysis of Wari beakers from Cerro Baúl (600–1000 ce) Universidad Nacional de Trujillo, 2014), p. 116. See also Carlos indicates that settlers were consuming beer made from molle ber- Wester La Torre, Chornancap: Palacio de una gobernante y sacer- ries. See Patrick Ryan Williams et al., “Archaeometric Approaches to dotisa de la cultura Lambayeque (Chiclayo: Ministerio de Cultura De昀椀ning Sustainable Governance: Wari Brewing Traditions and the del Perú, 2016), p. 282, for a repaired Moche vessel, created around Building of Political Relationships in Ancient Peru,” Sustainability 11, the seventh century ce, found in a Lambayeque burial from several no. 8 (2019), p. 2333. centuries later (1100–1350). 22. Hugo C. Ikehara, J. Fiorella Paipay, and Koichiro Shibata, “Feasting 9. The Cupisnique and Chavín styles are related to Chavín de Huántar, with Zea Mays in the Middle and Late Formative North Coast of a religious complex in the highlands. Excavations there have Peru,” Latin American Antiquity 24, no. 2 (June 2013), pp. 217–31. revealed extensive remains from feasts dating to the 昀椀rst millennium 23. Rebecca Stone-Miller, “Mimesis as Participation: Imagery, Style, and bce, including in the Galería de las Ofrendas at Chavín de Huántar, Function of the Michael C. Carlos Museum Paccha, an Inka Ritual where hundreds of 昀椀nely made bottles and bowls of di昀昀erent styles Watering Device,” in Kay Pacha: Cultivating Earth and Water in the were found together with food remains. Similar 昀椀nds have been Andes, edited by Penelope Dransart, BAR International Series 1478 reported from coastal sites, including Cerro Blanco in the Nepeña (Oxford: Archaeopress, 2006), pp. 215–24. Valley. 24. The jar known as Coca Mama was venerated in the town of San 10. Hugo Ikehara and Koichiro Shibata, “Festines e integración social en Gerónimo de Copa, Cajatambo. See Mario Polia Meconi, La cosmo- el Periodo Formativo: Nuevas evidencias de Cerro Blanco, valle bajo visión religiosa andina en los documentos inéditos del Archivo Romano de Nepeña,” Boletín de Arqueología PUCP, no. 9 (2005), pp. 123–59. de la Compañía de Jesús, 1581–1752 (Lima: Ponti昀椀cia Universidad 11. It is worth noting that the blue colorants on some Paracas vessels Católica del Perú, Fondo Editorial, 1999), p. 174. contain indigo, a plant-based pigment, known also to have been used 25. Ibid., p. 179. It was not uncommon that Andean deities, at as a dye in Paracas textiles. See Dawn Kriss et al., “A Material and least during the sixteenth century, were related using kinship Technical Study of Paracas Painted Ceramics,” Antiquity 92, no. 366 terminology. (December 2018), pp. 1492–510, and esp. pp. 1505–7 on indigo. 26. Ibid., p. 537: “en cuya prinçipal fuente tenia de varro antiguo forma 12. Santiago Uceda and José Armas, “Los talleres alfareros en el centro de un rostro de Demonio.” urbano moche,” in Investigaciones en la Huaca de la Luna, 1995, 27. Vaughn, “Craft and the Materialization of Chie昀氀y Power,” pp. 119–20. edited by S[antiago] Uceda, E[lías] Mujica, and R[icardo] Morales 28. Kevin J. Vaughn, “Households, Crafts, and Feasting in the Ancient (Trujillo: Universidad Nacional de La Libertad, 1995), pp. 93–104; Andes: The Village Context of Early Nasca Craft Consumption,” Glenn S. Russell and Margaret A. Jackson, “Political Economy and Latin American Antiquity 15, no. 1 (March 2004), pp. 61–88. 47