32. Pair of pacchas (ritual vessels). Inca; Peru, 15th–16th century. Ceramic and slip, H. 8 ⼀攀 in. (21 cm); H. 8 9/16 in. (21.8 cm). The Metropolitan Museum of Art, New York; Rogers Fund, 1986 (1986.383.1, .2) describing bottles as having necks, shoulders, and bodies. said to have ceramic “brothers” and “sisters,” including 25 In the ancient Andes, this relationship between pots and one named Coya Huarmi. Other vessels from the same 26 people was often made explicit, with vessels created as region were described as having faces. The tradition of e昀케gies or as models of persons, animals, or plants. Potters what archaeologists call “face-neck jars” extends back also created containers that were sometimes thought to at least 500 bce and continued through the time of either to be embodiments of vital powers or to be inhab- the Inca Empire (昀椀g. 34). The capacious bodies of these ited by supernatural beings, blurring the boundaries that vessels, surmounted by detailed heads through which separate “things” from beings. liquids would presumably 昀氀ow, provide rich potential for During the seventeenth-century campaigns that interpretation, as community members were believed to sought to eliminate Indigenous religious practices, partake of the bodies, and perhaps the life forces, of lead- Spanish colonial authorities described communities in ers and maybe even vanquished enemies through their the highlands of the province of Lima venerating small ritual use, as seen in one example fashioned as a prisoner jars (cantarillos) as the physical bodies of dei昀椀ed beings stripped of his loincloth and restrained by a rope around and o昀昀ering them food and drink. A jar known as Coca the neck (昀椀g. 35). Mama was dressed in an anacu (long tunic), lliclla (man- Vessels were also made in the shape of heads. Nasca 24 tle), belt, collar, and ear ornaments. Another vessel, jars boast elaborate headdresses, and the faces were known as Llanca Anaco, wore a camelid skin and was painted with wide-open eyes, eyebrows, and occasionally 33