Inca ceremonial cups are particularly distinctive and have some similarities in style to the Moche pottery portraits, although they are more stylised with less unique facial features. This beaker is in the form a human head with a prominent aquiline nose. While the ears protrude, the mouth is merely suggested by a rough semi-circular indentation. This area of the beaker has signs of damage where the gold sheet has split and been roughly repaired using other small pieces of gold and staples. Twin bands of roundels have been embossed using the repoussé technique. These indicate a head band or headdress, while hair is suggested by the outward curve of the beaker’s lip.

The unusual shape of the beaker was made using carved wooden forms. The face was created with a process called sinking, in which a sheet of gold was hammered around a wooden mould carved in the desired shape. Wooden models have been found that show how well planned the designs were, prior to the metalwork beginning.¹

The technique became popular in the coastal areas of Peru from 900 to 1450 AD, and the Incans adopted it from these cultures when they took control of their territories.² For instance, this style of cup was also used by the Chimú and demonstrates the continuation of many of their traditions and motifs under their Inca conquerors. Many of the Chimú metalworkers were abducted by the invading Incans because of their skill. They continued to produce gold and silver objects using their refined techniques, making the same designs for the new rulers. This particular type of beaker form was documented by the Spanish after their invasion of Peru in 1532 and defeat of the Incas in 1533.³

Simeran Maxwell

1. André Emmerich, Sweat of the sun and tears of the moon, New York: Hacker Art Books 1977, p. 31.

2. Luisa María Vetta Parodi, Gold of ancient Peru, Lima: Roberto Gheller Doig 2006, p. 47.

3. S. K. Lothrop, ‘Peruvian pacchas and keros’, American Antiquity, vol. 21, no. 3,
January 1956, p. 233.

Inca ceremonial cups are particularly distinctive and have some similarities in style to the Moche pottery portraits, although they are more stylised with less unique facial features. This beaker is in the form a human head with a prominent aquiline nose. While the ears protrude, the mouth is merely suggested by a rough semi-circular indentation. This area of the beaker has signs of damage where the gold sheet has split and been roughly repaired using other small pieces of gold and staples. Twin bands of roundels have been embossed using the repoussé technique. These indicate a head band or headdress, while hair is suggested by the outward curve of the beaker’s lip.

The unusual shape of the beaker was made using carved wooden forms. The face was created with a process called sinking, in which a sheet of gold was hammered around a wooden mould carved in the desired shape. Wooden models have been found that show how well planned the designs were, prior to the metalwork beginning.¹

The technique became popular in the coastal areas of Peru from 900 to 1450 AD, and the Incans adopted it from these cultures when they took control of their territories.² For instance, this style of cup was also used by the Chimú and demonstrates the continuation of many of their traditions and motifs under their Inca conquerors. Many of the Chimú metalworkers were abducted by the invading Incans because of their skill. They continued to produce gold and silver objects using their refined techniques, making the same designs for the new rulers. This particular type of beaker form was documented by the Spanish after their invasion of Peru in 1532 and defeat of the Incas in 1533.³

Simeran Maxwell

1. André Emmerich, Sweat of the sun and tears of the moon, New York: Hacker Art Books 1977, p. 31.

2. Luisa María Vetta Parodi, Gold of ancient Peru, Lima: Roberto Gheller Doig 2006, p. 47.

3. S. K. Lothrop, ‘Peruvian pacchas and keros’, American Antiquity, vol. 21, no. 3,
January 1956, p. 233.