Estudio de la decoración iconográfica en silbatos como receptores del cambio sociopolítico durante la fase Moche IV, en Huaca de la Luna
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Date
2019
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Universidad Nacional de Trujillo
Abstract
La cerámica con decoración hecha por los artesanos moches poseía un elevado valor ideológico por servir de medio con el cual la élite gobernante daba a conocer el poder que ejercían. Sin embargo, hacia el 600 d.C o 650 d.C la sociedad entra en crisis y genera una paulatina reorganización social y traspaso del poder, dejando un vacío que fue cubierto por la nueva y enriquecida élite del núcleo urbano. En estas circunstancias la nueva élite tuvo que validar el poder y afianzarlo mediante la celebración de reuniones y festividades entre sí. La presencia de silbatos de la fase estilística Moche IV en comparación con los del Moche III es mucho mayor, encontrándolos casi siempre en contextos de patios, áreas residenciales y almacenes, así como de preparación de alimentos y bebida. De igual modo la predilección en utilizar la técnica del moldeado para su elaboración nos señala lo necesario que fue poder mostrar un mensaje concreto de contenido ideológico y no solo la representación de algo. En cuanto a la preferencia de las representaciones iconográficas plasmadas en ellos vimos también una marcada variación de cantidad entre ambas fases estilísticas, siendo muchos más para el último y la hegemonía de las representaciones humanas por sobre la de animales y dioses durante el Moche IV.
ABSTRACT The decorated pottery made by the moches artisan has a high ideological value for serving as a means by which the ruling elite made known the power they wielded. However, around 600 AD or 650 AD, society enters into a crisis and generates a gradual social reorganization and transfer of power letting an empty spot covered by the new and enriched Urban core´s elite. Under these circumstances, the new elite had to validate and sharpen the power by the realization of gatherings and festivities. The presence of whistles on the Moche IV, compared to Moche III phase, is much greater; finding them, almost always in contexts of courtyards, residential areas and warehouses, as well as in preparation of food and drinks. In the same way, the predilection to use the molding technique for its elaboration indicates to us how necessary it was to be able to show a concrete message of ideological content and not only the representation of something. As for the preference of iconographic representations embodied in them, we also saw a marked variation of quantity between both periods, being many more for the last one, and the hegemony of human representations over that of animals and gods during the Moche VI.
ABSTRACT The decorated pottery made by the moches artisan has a high ideological value for serving as a means by which the ruling elite made known the power they wielded. However, around 600 AD or 650 AD, society enters into a crisis and generates a gradual social reorganization and transfer of power letting an empty spot covered by the new and enriched Urban core´s elite. Under these circumstances, the new elite had to validate and sharpen the power by the realization of gatherings and festivities. The presence of whistles on the Moche IV, compared to Moche III phase, is much greater; finding them, almost always in contexts of courtyards, residential areas and warehouses, as well as in preparation of food and drinks. In the same way, the predilection to use the molding technique for its elaboration indicates to us how necessary it was to be able to show a concrete message of ideological content and not only the representation of something. As for the preference of iconographic representations embodied in them, we also saw a marked variation of quantity between both periods, being many more for the last one, and the hegemony of human representations over that of animals and gods during the Moche VI.
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Keywords
Cultura Moche, Representaciones iconográficas, Artefactos musicales Moche