Of all the animals that appear in ancient Peruvian art, the feline is the most pervasive—all cultures revered some type of cat. The particular species often varied according to the region in which the culture lived. The jaguar (Panthera onca), the largest South American cat, was commonly depicted and is identifiable by its spots. Its hunting technique includes jumping at the head of its prey—an appropriate symbol for decapitation, another recurring ancient Peruvian theme. Many Moche ceramics include images of felines attacking bound prisoners by biting them on the neck, although this pottery vessel (cat. 84) depicts a quite passive seated cat, probably a puma. In the art of ancient Peruvian cultures, especially Moche, cats encapsulated the dual aspects of attacker and protector.

Unlike other parts of Peru, where jaguars abounded, the Moche lived in a region where there were smaller felines. While they sometimes portrayed jaguar cubs, they were more likely to depict ocelots, margays, Pampas cats or jaguarondis.¹ Pumas also feature in the art of highland cultures. The creatures all display the same hunting prowess, poise, stealth and aggression that appealed to warrior cultures such as the Moche.

Felines were associated symbolically with military, religious and political leaders. The tombs of the elite were often filled with feline imagery, and it was also incorporated into their textiles, jewellery and other adornments. The Moche ruler known as the Lord of Sipán, whose tomb was discovered in Lambayeque Valley in northern Peru, was buried with objects emblazoned with various cat motifs, including circular feline faces like the one seen here (cat. 83). Of the feline faces found in the Sipán tombs, some were depicted with open mouths full of inlaid-shell fangs and teeth, creating a particularly ferocious image.² Adorned with this type of ornamentation, it was believed that the wearer became the animal or gained its power. Cats might have also represented ancestors or humans gone to the afterlife.³

Simeran Maxwell

1. Elizabeth P. Benson, Birds and beasts of ancient Latin America, Gainesville: University Press of Florida 1997, pp. 36, 38.

2. Christopher B. Donnan, Moche art and iconography, Los Angeles: UCLA Latin American Center Publications 1976, p. 29.

Of all the animals that appear in ancient Peruvian art, the feline is the most pervasive—all cultures revered some type of cat. The particular species often varied according to the region in which the culture lived. The jaguar (Panthera onca), the largest South American cat, was commonly depicted and is identifiable by its spots. Its hunting technique includes jumping at the head of its prey—an appropriate symbol for decapitation, another recurring ancient Peruvian theme. Many Moche ceramics include images of felines attacking bound prisoners by biting them on the neck, although this pottery vessel (cat. 84) depicts a quite passive seated cat, probably a puma. In the art of ancient Peruvian cultures, especially Moche, cats encapsulated the dual aspects of attacker and protector.

Unlike other parts of Peru, where jaguars abounded, the Moche lived in a region where there were smaller felines. While they sometimes portrayed jaguar cubs, they were more likely to depict ocelots, margays, Pampas cats or jaguarondis.¹ Pumas also feature in the art of highland cultures. The creatures all display the same hunting prowess, poise, stealth and aggression that appealed to warrior cultures such as the Moche.

Felines were associated symbolically with military, religious and political leaders. The tombs of the elite were often filled with feline imagery, and it was also incorporated into their textiles, jewellery and other adornments. The Moche ruler known as the Lord of Sipán, whose tomb was discovered in Lambayeque Valley in northern Peru, was buried with objects emblazoned with various cat motifs, including circular feline faces like the one seen here (cat. 83). Of the feline faces found in the Sipán tombs, some were depicted with open mouths full of inlaid-shell fangs and teeth, creating a particularly ferocious image.² Adorned with this type of ornamentation, it was believed that the wearer became the animal or gained its power. Cats might have also represented ancestors or humans gone to the afterlife.³

Simeran Maxwell

1. Elizabeth P. Benson, Birds and beasts of ancient Latin America, Gainesville: University Press of Florida 1997, pp. 36, 38.

2. Christopher B. Donnan, Moche art and iconography, Los Angeles: UCLA Latin American Center Publications 1976, p. 29.