#PeruvianArt
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nooklaus.bsky.social
🚨 THERE'S AN IMPOSTOR ON THE MENU!

In Peru, "causa" is both a traditional potato dish and slang for "buddy." So I mixed it with Among Us and created Among Causas!

#AmongUs #PeruvianArt #DigitalIllustration #TShirtDesign #FanArt #DigitalArt #GameArt
October 29, 2026 at 10:09 PM
lunazuna.bsky.social
Fernando de Szyszlo Valdelomar (5 July 1925 – 9 October 2017) was Peruvian artist, known mainly for his work in painting and sculpture.
La Habitacion No. 23, 1997, oil on canvas, 45 1/4 x 45 1/2 in. 114.9 x 115.6 cm
#PeruvianArt #BornOnThisDay #OilPainting
July 5, 2025 at 7:53 PM
theoddburrow.bsky.social
ꜱᴀᴄʀᴇᴅ ɢᴜᴀʀᴅɪᴀɴ

I wanted to combine Japanese aesthetics with Peruvian culture, featuring a reimagined "Cabeza clava" with large horns and other ornaments.

#digitaldrawing #procreate #truegrittexturesupply #cabezaclava #noaineeded #illustration #japaneseart #peruvianart #naiovega
June 26, 2025 at 3:08 PM
animal-aspects.bsky.social
#TwoForTuesday :
Nose ornament with two
#scorpions
Moche culture, Loma Negra, Piura Valley, Piura Province, Peru; Early Intermediate Period, 500-700 CE
Gold & silver
On display at Princeton University Art Museum (2021-95)
#IndigenousArt #AndeanArt #PeruvianArt
photo of the object on display at museum Large rectangular nose ornament (hole top center), bimetallic composition, gold with two silver scorpions on left and right halves, each framed with rectangular borders adorned with round dangles
June 17, 2026 at 3:44 AM
animal-aspects.bsky.social
Stirrup-spout vessel in the form of a seated #fox
Moche culture, N Coast Peru, Early Intermediate Period (Moche Phase III), 200–450 CE
Burnished redware ceramic w/ cream slip, 24 × 11.4 × 21.3 cm
On display @ Princeton University Art Museum (y1992-65)
#AndeanArt #PeruvianArt #IndigenousArt
photo of the fox effigt vessel on display at museum form of a fox sitting upright, molded & incised details, bichrome red & cream, bridge spout (9 7/16 × 4 1/2 × 8 3/8 in.)
May 31, 2026 at 11:58 PM
animal-aspects.bsky.social
Bridge-spout vessel in the form of a #dog suckling two #puppies (Peruvian hairless dog)
Chimú culture, North coast Peru, Late Intermediate Period 1000-1450CE
Reduction-fired ceramic (blackware)
On display @ Princeton University Art Museum (y1993-21)
#DogsInArt #AndeanArt #PeruvianArt #IndigenousArt
photo of the effigy vessel on display at museum Mother dog (Peruvian hairless dog) suckling two puppies, Chimu blackware, bridge spout photo of the gallery label “Chimú, Late Intermediate Period North coast, Peru Bridge-spout vessel in the form of a dog suckling two puppies, 1000-1450 Reduction-fired ceramic Museum purchase (y1993-21) While many Chimú ceramic vessels share the smudge-fire black coloration and glossy burnish of this vessel, few present such subtle modeling, detail, and sensitivity as this representation. Although Chimú artists preferred blackware ceramics to represent all kinds of subject matter, the coloration here approximates that of the Peruvian hairless dog, an identification supported by the fine lines on the body referencing folds of skin. This species begins to appear in art from Peru's north coast toward the end of the Early Intermediate period (ca. 750), when it may have been introduced to the region via maritime trade. A closely related species is well attested on Mexico's west coast a millennium earlier, suggesting the likely origin of the Peruvian immigrant. While hairless dogs were eaten in ancient Mexico, scholars believe ancient Peruvians may have kept these dogs for their healing powers.”
May 31, 2026 at 11:40 PM
animal-aspects.bsky.social
Stirrup-spout bottle with #deer
Moche culture, North Coast, Peru, 500-800 CE
Ceramic, slip; H. 11 × W. 5 1/2 × D. 8 1/2 in. (27.9 × 14 × 21.6 cm)
On display at Metropolitan Museum of Art NY (63.226.7)
#IndigenousArt #AndeanArt #PeruvianArt
photo of the deer effigy bottle on display at museum - front profile view “This stirrup-spout bottle depicts a deer embracing two fawns as if they were human offspring. Moche artists were highly skilled at depicting realistic images of humans, animals, and plants, but occasionally elements are combined in ways that are distinctly imaginative. Here, the potter carefully represented a white-tailed doe, recognizable by the markings on the creature’s coat. Details of the deer such as the erect ears, antlers, and hooves were modeled and painted using red and white slips (suspensions of clay and/or other colorants in water). Deer are often represented in Moche ceramics. Scenes of deer hunting are painted on the surfaces of some pots in a style known as fineline (Donnan and McClelland, 1999: 104, fig. 4.54). Modeled representations of seated deer are also known; sometimes they hold lime containers—part of the paraphernalia for chewing coca (see, for example, a work in the Cleveland Museum of Art, 2008.1). Scholars are unsure whether these seated deer represent prey to be consumed or whether deer had special symbolic or metaphorical meanings for Moche viewers.” https://www.metmuseum.org/art/collection/search/308409 photo of the deer effigy bottle on display at museum - quarter turn side profile view photo of the gallery label “Moche artists); North Coast, Peru Stirrup-spout bottle with deer 500-800 CE Ceramic, slip Gift of Nathan Cummings, 1963 (63.226.7) Recorded provenance: Bruno J. Wassermann-San Blas Collection, Buenos Aires, acquired by 1938, until 1954; Nathan Cummings, Chicago, 1954-63 Sculpted in the shape of a deer holding two fawns to its chest, this bottle combines realistic details of the animal's body, such as hooves, with imaginative leaps: the deer sits cross-legged, cradling its offspring as a human would. This maternal scene is a reminder that for the Moche, deer were comparable to people, and were often depicted as warriors.”
April 16, 2026 at 5:21 AM
animal-aspects.bsky.social
Bottle in the shape of a #dog
Nasca or Wari culture, South Coast,
Peru, 1-600 CE
Ceramic, slip; H. 5 1/8 × W. 3 1/2 × D. 6 1/2 in. (13 × 8.9 × 16.5 cm)
On display at the Metropolitan Museum of Art NY (1988.281.2)
#IndigenousArt #AndeanArt #PeruvianArt #DogsInArt
composite photo of the ceramic dog (brown and white) effigy bottle and its label on display at museum label text: “Nasca or Wari artist (s); South Coast, Peru Bottle in the shape of a dog 1-600 CE Ceramic, slip Rogers Fund, 1988 (1988.281.2) Recorded provenance: Louis Slavitz, New York, by 1988” “Modeled in the shape of a dog with details added with slip (a suspension of clay and pigments in water), this bottle was created by Nasca artists on Peru’s South Coast in the first centuries of the first millennium of the Common Era. Some dogs were likely family companions; others, such as hairless dogs, were thought to have healing properties. Some breeds, such as the one depicted here, may have helped families in farming or herding activities.” https://www.metmuseum.org/art/collection/search/316177
April 16, 2026 at 5:07 AM
animal-aspects.bsky.social
#Baturday 🦇:
Cupisnique artist; Tembladera,
North Coast, Peru
Bottle with leaf-nosed #bat head
1200-800 BCE
Ceramic, cinnabar
on display at The Met (1978.412.210)
#IndigenousArt #AndeanArt #PeruvianArt #AncientArt
photo of the ceramic leaf-nosed bat head bottle with single spout, side profile facing left photo of the ceramic leaf-nosed bat head bottle with single spout, quarter turn profile photo of the ceramic leaf-nosed bat head bottle with single spout, back view photo of gallery label: “Cupisnique artist; Tembladera, North Coast, Peru Bottle with leaf-nosed bat head 1200-800 BCE Ceramic, cinnabar The Michael C. Rockefeller Memorial Collection, Purchase, Nelson A. Rockefeller Gift, 1968 (1978.412.210) Recorded provenance: Alan Lapiner, Arts of the Four Quarters Ltd., New York, by 1968; the MPA, New York, 1968-78 Potters occasionally applied red pigments to vessels after firing to create a more dramatic visual effect. Iron-based ochres were common, but sometimes potters used cinnabar, a mercury-rich mineral, to create bright reds. Cinnabar was imported to the North Coast from Huancavelica, a highland region some five hundred miles south of where these vessels were allegedly found.”
March 15, 2026 at 3:31 AM
animal-aspects.bsky.social
#MetalMonday :
Moche artists; North Coast, Peru
Shield with #crab and #fish figures, 500–800 CE
Gilded copper
H. 7 1/4 × W. 7 1/4 × D. 3/4 in. (18.4 × 18.4 × 1.9 cm)
on display at the Metropolitan Museum of Art (1987.394.46)
#AndeanArt #PeruvianArt #IndigenousArt
“This impressive gilded copper disk depicts a crab, surrounded by alternating plain and embossed circular gold bands. The ornament was originally cut from a larger sheet of hammered copper and was subsequently gilded. Portions of the sheet were removed to create the central figure plus five concentric rings connected by six radiating bands or rays. The first, third and outermost circular bands are unworked, while the second and fourth bands have been embossed to depict six fish in profile. The central repoussé crab is masterfully represented with embossed eye stalks, mouth parts, pinchers, carapace, walking legs and tail. Even the articulation points of the leg joints are indicated. As with the crab, each fish in the inner band has been delicately embossed to indicate the piscine facial anatomy, scales and fins. The fourth circular band depicts spotted catfish illustrated in a dorsal view depicting eyes, fins and scales. The plain surfaces, including the rays and the three plain circular bands, are adorned with gilded dangles affixed to the disk by thin gilded wires attached to the back. The wires that hold the dangles are oriented so that only when the central figure, the crab, is pointing up, do the dangles hang properly. (In any other orientation, some of the disks would hang beyond the borders of the backing.) One can imagine the brilliant effect of sunlight reflecting off the solid and shimmering elements of this object.” “In Moche iconography, crabs are one of the major animals featured in the pantheon of anthropomorphic warriors. Combatants with crab-like bodies and other crustacean attributes but with human heads are often found on Moche modeled and painted ceramics (see, for example, a ceramic bottle in the Met’s collection, 67.167.5). It is unclear what features elevated this sea creature to one of esteem: Was it the crab’s ability to live both under the water and along the edge of the sea seen as symbolic of a warrior’s ability to transcend realms? Or were the crab’s powerful pinchers seen as metaphors of military might? Or was it some other trait unclear to us but evident to Moche viewers? As there was no tradition of writing in the prehispanic Andes, the specific meanings of such imagery remain elusive. The technical sophistication required for the creation of objects such as this once led scholars to refer to this period as the Master Craftsmen Era (Bennett and Bird, 1949; Castillo 2017). The technology employed for producing these ornate metal objects, however, is still the subject of study (Lechtman, 1982; Schorsch, 1998). The function of disks such the present example is unclear. They may have served as shield frontals, attached to a cane backing, but the delicate nature of the design would have limited its protective function in actual battle. Thus, these objects may have been intended for ritual use as symbolic weapon adornments. Alternatively, they may have been attached to textile banners or hangings.”
March 9, 2026 at 8:49 PM
animal-aspects.bsky.social
#FoxFriday 🦊 at the Ancient Americas wing of the Met:
Topará artist(s); South Coast, Peru Spout-and-bridge bottle with #fox 200 BCE-100 CE
Ceramic, slip
63.232.49
#AndeanArt #PeruvianArt #IndigenousArt
photo of the fox bottle on display at museum, quarter turn side profile bichrome brown and tan, with molded and incised details, spout and bridge top connected to head on globular body photo of the fox bottle on display at museum, front profile bichrome brown and tan, with molded and incised details, spout and bridge top connected to head on globular body
March 7, 2026 at 3:03 AM
animal-aspects.bsky.social
#FoxFriday 🦊 at the Ancient Americas wing of the Met:
Moche artist(s); North Coast, Peru
Bottle with #fox head, 500-800 CE
Ceramic, slip
63.226.6
#AndeanArt #PeruvianArt #IndigenousArt
photo of the fox head bottle on display at museum, quarter turn profile view Bichrome brown and tan, with molded and painted details, stirrup spout photo of the fox head bottle on display at museum, front profile view Bichrome brown and tan, with molded and painted details, stirrup spout
March 7, 2026 at 2:51 AM
animal-aspects.bsky.social
#FoxFriday 🦊 at the Ancient Americas wing of the Met:
Moche artist(s); North Coast, Peru Stirrup-spout bottle with #fox head and clubs, 500-800 CE
Ceramic, slip
1983.546.4
#AndeanArt #PeruvianArt #IndigenousArt
photo of the “Stirrup-spout bottle with fox head and clubs” on display at museum, front profile photo of the “Stirrup-spout bottle with fox head and clubs” on display at museum, side profile photo of gallery sign: “Moche artists); North Coast, Peru Stirrup-spout bottle with fox head and clubs 500-800 CE Ceramic, slip Gift of Judith Riklis, 1983(1983.546.4) Recorded provenance: Judith Riklis, New York, by 1983 The top of this vessel was modeled in the shape of a war club with the head of a fox and tiny human arms. War clubs and other elements likely taken as trophies from a defeated enemy were painted on the side of the vessel. The fox's helmet strap holds down a vine of chili peppers, perhaps underscoring an association between the spice's heat and the pain caused by the club.”
March 7, 2026 at 2:44 AM
animal-aspects.bsky.social
#FrogFriday in the Ancient Americas wing at the Met 🐸: (3/3…no wait 3/4!)
Lambayeque (Sicán) artist(s);
North Coast, Peru
Beakers with faces and #frogs
900-1100 CE
Gold
#AndeanArt #PeruvianArt #IndigenousArt
photo of the beaker pair on display side by side at museum gold cups with a row of human faces circling the top and a row of frogs circling the bottom Closeup of the faces and frogs on one of the beakers closeup of one of the frog details
March 7, 2026 at 12:35 AM
animal-aspects.bsky.social
#FrogFriday in the Ancient Americas wing at the Met 🐸: (1/3)
Moche artist(s); North Coast, Peru Stirrup-spout bottle with #toad 200-500 CE
Ceramic, slip
1992.60.8
#AndeanArt #PeruvianArt #IndigenousArt
photo of the frog effigy vessel on display at museum Red & tan, molded & incised details, stirrup spout photo of gallery sign: “Moche artists); North Coast, Peru Stirrup-spout bottle with toad 200-500 CE Ceramic, slip Gift of Conny and Fred Landmann, 1992 (1992.60.8) Recorded provenance: Conny and Frederick E. Landmann, New Hampshire, by 1992 Moche artists were close observers of the natural world, and their early ceramics often depicted animals with considerable fidelity. Made before molds were commonly used, these effigies demonstrate an expansion of the sculptural possibilities of clay vessels. Some vessels captured salient features of animals two-dimensionally; in later centuries, slip painting would become the favored means to convey ideas.”
March 7, 2026 at 12:21 AM
animal-aspects.bsky.social
Fragment of a Band (with #tadpole design!)
Nazca culture, Peru (South Coast),
Early Intermediate period, c.400–700 CE
Camelid fiber & cotton
56 1/4 x 1 3/8 in. (142.8 x 3.5 cm)
Saint Louis Art Museum 185:1944 www.slam.org/collection/o...
#IndigenousArt #AndeanArt #PeruvianArt
#Frogs
official museum photo of the textile band fragment on grey background “Peruvian textiles frequently contain repeated imagery with alternating colors and inversions. These carefully devised patterns were highly symbolic, representing the organization of varied designs into a harmonious whole. The imagery on this textile could also evoke relationships between forms, particularly those in the natural world. Undulating tadpoles on the Nasca band invoke their eventual transformation into amphibians.”
February 20, 2026 at 1:48 AM
animal-aspects.bsky.social
#FrogFriday 🐸:
Silver #Frog Ornament
Sican / Lambayeque, Northern Peru, c. 800-1100 CE
5.125" W x 5.375" H (13 cm x 13.7 cm)
Artemis Gallery via www.bidsquare.com/online-aucti...
#IndigenousArt #AndeanArt #PeruvianArt
official auction photo of the silver ornament, circular disc with hammered design of a frog, mounted and shown next to a penny for scale “A very large, hammered silver head ornament of a circular, medallion-like form, adorned by an amphibian - frog or toad - in repousse with outspread legs, bumpy skin, and an expressive happy visage presenting round bulging eyes, pierced nostrils, and a wide smile. In addition to the piece's impressive artistry, it is a richly symbolic piece, as the frog (rana) was associated with rain, water, the sustenance that it brings, spring, fertility, and rebirth in the Pre-Columbian world. Silver working is a two thousand year old tradition in Peru. To the ancients of Peru, precious metals indicated special status. Both silver and gold were symbols of power and prestige worn exclusively by the elite. They signified high social status and respected political authority during life as well as after death when placed as votive offerings in tombs with the honored deceased. Silver was used to create numerous types of objects, ranging from personal ornaments like this example to effigy vessels shaped in the likenesses of human figures, animals, and birds.”
February 7, 2026 at 2:32 AM
animal-aspects.bsky.social
#FrogFriday 🐸:
#Frog Stirrup Vessel (with bas relief corn stalks & painted beans!)
Moche culture, North Coast Peru, c.400 CE
Bi-chrome pottery, 8.25" L x 5.5" W x 8.5" H (21 x 14 x 21.6 cm)
#IndigenousArt #AndeanArt #PeruvianArt
www.liveauctioneers.com/item/8089696...
Official auction photo 1, side profile facing right “An outstanding bi-chrome red-on-cream frog effigy vessel with bas relief corn stalks on either side of the body and another adorning the throat, all surrounded by painted beans. The vessel presents a sizeable bull frog - with legs tucked against his body and an arched stirrup spout emerging from his back. The protruding head boasts bulging eyes and a pronounced nose adorned with striations above an open mouth full of teeth. A wonderful vessel demonstrating superior command of technique and medium as well as embodying meaningful symbolism; in the Pre-Columbian world, the frog (rana) was associated with rain, the sustenance that it brings about, and fertility.” Official auction photo 2, side profile facing left Official auction photo 3, back view Official auction photo 1, bottom view
January 31, 2026 at 1:22 AM
animal-aspects.bsky.social
#MetalMonday :
Nose ring with #scorpions
Mochica (Moche) culture, Early Intermediate Period (200-600 CE)
Origin: Huaca Cao Viejo (Upper Platform, NW Courtyard)
Bimetallic gold & silver
El Brujo Archaeological Complex EBBME00000-22 www.elbrujo.pe/catalogo/?pa...
#IndigenousArt #PeruvianArt #AndeanArt
"A bimetallic nose ornament crafted from gold and silver, composed of two symmetrical sections. In one of the side sections, the hook or clasp is made of gold, while the zoomorphic motif below it is made of silver. In the opposite section, the composition is reversed: the clasp is silver and the lower design is gold. The decoration depicts arachnid figures (scorpions) arranged in pairs, with their bodies facing the central axis of the object. The motifs were executed using repoussé and openwork techniques. The piece has a polished surface finish."
January 26, 2026 at 11:42 PM
animal-aspects.bsky.social
Merry #Crustmas to all who shellebrate 🦀
#Crab Effigy Vessel
Chimu culture, Peru, c.900-1470 CE
Blackware ceramic, H 6 5/8 in. (16.83 cm)
freemansauction.com/auctions/206...
#IndigenousArt #PeruvianArt #AndeanArt #CrabTime
official auction photo of the object on black background, view 1 quarter turn side profile right Chimu blackware pottery, single spout stirrup vessel, crab effigy, molded & incised details official auction photo of the object on black background, view 2 quarter turn side profile left Chimu blackware pottery, single spout stirrup vessel, crab effigy, molded & incised details official auction photo of the object on black background, view 3 full side profile right Chimu blackware pottery, single spout stirrup vessel, crab effigy, molded & incised details official auction photo of the object on black background, view 4 back profile Chimu blackware pottery, single spout stirrup vessel, crab effigy, molded & incised details
December 24, 2025 at 5:57 AM
animal-aspects.bsky.social
#SeaLion Effigy Vessel
Moche culture, Peru, c.200-800 CE
Polychrome ceramic, H 10 3/8 in. (26.35 cm)
freemansauction.com/auctions/206...
#IndigenoisArt #AndeanArt #PeruvianArt
official auction photos on black background of a Moche polychrome stirrup effigy vessel in the form of a sea lion head with fish in its mouth, painted and incised details view 1, quarter turn side profile showing head end of fish in mouth view 2, quarter turn side profile in opposite direction showing tail end of fish in mouth view 3, full side profile showing external ear (identifying it as a sea lion)
December 22, 2025 at 7:14 AM
animal-aspects.bsky.social
#TwoForTuesday :
Double Chambered Bottle
Representing a Spondylus #Shell and Strombus Shell
Moche culture, North coast Peru, 1st-7th c.
Earthenware, slip
On display at Baltimore Museum of Art (2005.31)
#IndigenousArt #AndeanArt #PeruvianArt #Mollusks
photo of the pottery piece on display at museum double chambered & single spouted (upside down Y shape) vessel; left half as a light brown strombus shell with spout half red-brown and right half as a dark brown spondylus shell with spout half light brown; molded and incised details photo of the gallery label: “Unidentified Moche Artist Double Chambered Bottle Representing a Spondylus Shell and Strombus Shell lst-7th century North coast, Peru Earthenware, slip Gift of the Austen-Stokes Ancient Americas Foundation, Upper Nyack, New York, BMA 2005.31”
October 8, 2025 at 1:34 AM
animal-aspects.bsky.social
For #NationalFoxDay 🦊:
#Fox - Head Bottle (aka Spout-and-bridge bottle with fox)
Topará, South Coast Peru (Necropolis)
Ceramic, slip
H. 7 1/4 × W. 6 3/4 × D. 7 1/2 in. (18.4 × 17.1 × 19.1 cm)
Metropolitan Museum of Art (63.232.49)
#AncientArt #PeruvianArt #IndigenousArt
photo of the bottle & its gallery label “Fox-Head Bottle Peru; Topará (Necropolis) 2nd century в.c.-1st century A.D. Ceramic Gift of Nathan Cummings, 1963 63.232.49” “For several centuries around the time of the beginning of the CE, artists of the Paracas people on Peru’s S Coast developed a striking style of ceramics featuring a colorful palette achieved w// post-fire paints. Around 200 BCE, however, potters from the N part of the Ica region distinguished themselves from their Paracas counterparts by crafting elegant, highly burnished, monochromatic bottles in a style known as Topará. Red or cream slips - liquid suspensions of clay & pigments - were used to cover the entire vessel, & the smooth surfaces were carefully burnished to produce a uniform shine. Many Topará vessels were shaped like gourds, others like animals. This fox bottle was created by attaching a modeled canine head to the globular body. The frontal limbs were delineated by incisions in soft clay & later painted w/ a cream slip. The simplicity of the rendering contrasts w/ the dramatic expression of the animal. A spout in the back is connected to the head w/ a bridge handle. This vessel type, known as a spout-and-bridge bottle, was the South Coast’s signature shape for the following millennium. Topará-style bottles were found in cemeteries, such as those excavated on the Paracas Peninsula at the beginning of the 20th century by the Peruvian archaeologist Julio Tello. Tello dubbed the abandoned houses converted into communal graves "Necropolis," & that name has become attached to the style of ceramics, textiles, & other objects that accompanied the 100s of funerary bundles found there. Multiple styles of ceramics - Paracas, Topará, & early Nasca - have been found together in a single tomb by archaeologists, suggesting that multiple communities of producers, each w/ their own techniques, palette, & image repertoire, did not only exist simultaneously but also provided wares for the same families.”
September 18, 2025 at 5:11 AM
animal-aspects.bsky.social
For #NationalFoxDay: 🦊
#Fox Runner Effigy Vessel
Moche, North Coast region, Peru, c.400-700
Ceramic, pigment
Brooklyn Museum display
#PeruvianArt #IndigenousArt
composite photo of two views of the fox vessel and its gallery label “The anthropomorphic fox on this effigy vessel wears a large disc headdress associated with the Ritual Runners, figures shown racing through the desert landscape in many examples of Moche art. Similar discs in gold and copper have been found in elite burials, suggesting that the Ritual Runners were a high-ranking group of adult males, possibly priests, who participated in special ceremonies throughout the Moche territory. Scholars believe that Moche priests consumed the hallucinogenic San Pedro cactus (Echinopsis pachanoi) to transform themselves into animal spirit helpers such as the fox.”
September 18, 2025 at 4:38 AM
animal-aspects.bsky.social
#LunarNewYear #YearOfTheSnake 🌕🐍
Paiinted polychrome ceramic vessel in the form of a #snake
Ware culture, Chancay Valley, Peru, c. 800-1000 CE
On display at Smithsonian NMAI 23/1070
#IndigenousArt #PeruvianArt
“A sacred animal, the snake is symbolically linked with water and fertility.”
stitched photo of the coiled snake pottery on display at museum and its bilingual label: “A sacred animal, the snake is symbolically linked with water and fertility. La serpiente, un animal sagrado, se vincula simbólicamente con el agua y la fertilidad. Wari painted vessel with snake, ca. AD 800-1000 Chancay Valley, Peru Ceramic 23/1070” Vasija Wari pintada y modelada con motivo de serpiente, ca. AD 800-1000 Valle Chancay, Perú Cerámica 23/1070”
January 29, 2025 at 1:04 PM