The pottery produced by the Chimú continued the strong traditions of both the Moche and Huari cultures. They employed similar forms, decorations and mould techniques, enabling them to create large numbers of pots quickly. Indeed, this mass production led to changes in how pottery was valued. The function of ceramics as prestige items in high-ranking graves began to quickly disappear, and clay items started to be viewed as everyday ware rather than special objects. Instead, members of the Chimú elite favoured individualised metalwork as their preferred grave goods.

This pot is typical of Chimú style: relatively plainly decorated with a polished black exterior. The colour was achieved by adding extra fuel to an already hot kiln and then closing it to create a smoky atmosphere. Many Chimú ceramics show less sophistication in their designs than those of previous cultures. Common shapes include animals such as monkeys and birds.

Numerous stirrup-spout vessels have been discovered, and double-chambered pots have also been uncovered in abundance. This pot, however, has a more complex shape, with three gourd-like vessels linked in the centre. Bridges are formed by the joining of the animals’ hands. Each gourd-shape has the head of a bat, creatures that were believed to possess special powers since they could see and fly in the dark. Two species of bats largely appear in Peruvian art: the leaf-nosed bat (Phyllostomidae), which has a distinctive flap on the top of its nose, and the common vampire bat (Desmodus rotundus), seen here. On this vessel each vampire bat has a small pointed face, with an open mouth revealing its tell-tale fangs.

Simeran Maxwell

The pottery produced by the Chimú continued the strong traditions of both the Moche and Huari cultures. They employed similar forms, decorations and mould techniques, enabling them to create large numbers of pots quickly. Indeed, this mass production led to changes in how pottery was valued. The function of ceramics as prestige items in high-ranking graves began to quickly disappear, and clay items started to be viewed as everyday ware rather than special objects. Instead, members of the Chimú elite favoured individualised metalwork as their preferred grave goods.

This pot is typical of Chimú style: relatively plainly decorated with a polished black exterior. The colour was achieved by adding extra fuel to an already hot kiln and then closing it to create a smoky atmosphere. Many Chimú ceramics show less sophistication in their designs than those of previous cultures. Common shapes include animals such as monkeys and birds.

Numerous stirrup-spout vessels have been discovered, and double-chambered pots have also been uncovered in abundance. This pot, however, has a more complex shape, with three gourd-like vessels linked in the centre. Bridges are formed by the joining of the animals’ hands. Each gourd-shape has the head of a bat, creatures that were believed to possess special powers since they could see and fly in the dark. Two species of bats largely appear in Peruvian art: the leaf-nosed bat (Phyllostomidae), which has a distinctive flap on the top of its nose, and the common vampire bat (Desmodus rotundus), seen here. On this vessel each vampire bat has a small pointed face, with an open mouth revealing its tell-tale fangs.

Simeran Maxwell