Metal nose ornaments have been found in large quantities in the graves of Moche political and religious leaders, both male and female. They were a type of body adornment worn under the nose, hanging from the nasal septum and held in place by the semi-circular section that almost meets at the top. Such items of jewellery clearly identified the ruling elite and persons of authority, and were believed to harness the power to transform the wearer into a supernatural being. Some resembled the facial features of animals, and others displayed symbols associated with the various decapitation gods of the Moche pantheon.

These two nose ornaments epitomise the variation in the types of facial decoration used by the Moche. The more complex is wrought from gold and enhanced with the blue-green semi-precious stone, turquoise. The stone is carefully integrated into the design of the nose piece, highlighting elements of the clothing and ornaments of the central figure presented with arms outstretched, creating the characteristic ‘V’ form. This bold and distinctive shape often appears in the headdresses of some deities, and is associated with Moche decapitation rituals.

Strung between the figure’s arms is a linked chain, from which hang small bells or rattles that made a sound as the wearer moved. Both as a piece of jewellery and also as a string of bells this nose ornament demonstrates the many ways in which the Moche used instruments and noise makers, and the importance of such items in their lives and rituals (cats 74, 75). The dangling balls may also symbolise severed heads, linking the figure on the ornament to the human decapitation god, Ai Apaec. He is shown wearing a sumptuous headdress that rises in a half moon shape behind his head, with two large elements protruding at his temples. Circular ornaments adorn his ears. A large section of stone forms a bright tunic and a small rectangular piece droops between his legs, mimicking the extended flap of his loincloth or a warrior’s coccyx protector. More bells dangle from the edge of this and the huge implements he grasps in each hand. The figure’s cylindrical gold legs and arms have been moulded in two sections and then soldered together. His arms are transformed into wings and his headdress into an owl's head. The back of the object is a smooth piece of gold.

The other nose ornament demonstrates an entirely different style and technique. It is strikingly plain in design and ornamentation. A gold semi-circular disc, its only decorative features are the two lengths of gold wire, formed from the top section of the disc, which would have emanated from either side of the wearer’s nose like the whiskers of a cat. When wearing these ornaments, priests and rulers took on the attributes of the animal portrayed. External elements such as these ‘whiskers’ would also have been used to attach the nose piece to the face of the wearer.

Simeran Maxwell

Metal nose ornaments have been found in large quantities in the graves of Moche political and religious leaders, both male and female. They were a type of body adornment worn under the nose, hanging from the nasal septum and held in place by the semi-circular section that almost meets at the top. Such items of jewellery clearly identified the ruling elite and persons of authority, and were believed to harness the power to transform the wearer into a supernatural being. Some resembled the facial features of animals, and others displayed symbols associated with the various decapitation gods of the Moche pantheon.

These two nose ornaments epitomise the variation in the types of facial decoration used by the Moche. The more complex is wrought from gold and enhanced with the blue-green semi-precious stone, turquoise. The stone is carefully integrated into the design of the nose piece, highlighting elements of the clothing and ornaments of the central figure presented with arms outstretched, creating the characteristic ‘V’ form. This bold and distinctive shape often appears in the headdresses of some deities, and is associated with Moche decapitation rituals.

Strung between the figure’s arms is a linked chain, from which hang small bells or rattles that made a sound as the wearer moved. Both as a piece of jewellery and also as a string of bells this nose ornament demonstrates the many ways in which the Moche used instruments and noise makers, and the importance of such items in their lives and rituals (cats 74, 75). The dangling balls may also symbolise severed heads, linking the figure on the ornament to the human decapitation god, Ai Apaec. He is shown wearing a sumptuous headdress that rises in a half moon shape behind his head, with two large elements protruding at his temples. Circular ornaments adorn his ears. A large section of stone forms a bright tunic and a small rectangular piece droops between his legs, mimicking the extended flap of his loincloth or a warrior’s coccyx protector. More bells dangle from the edge of this and the huge implements he grasps in each hand. The figure’s cylindrical gold legs and arms have been moulded in two sections and then soldered together. His arms are transformed into wings and his headdress into an owl's head. The back of the object is a smooth piece of gold.

The other nose ornament demonstrates an entirely different style and technique. It is strikingly plain in design and ornamentation. A gold semi-circular disc, its only decorative features are the two lengths of gold wire, formed from the top section of the disc, which would have emanated from either side of the wearer’s nose like the whiskers of a cat. When wearing these ornaments, priests and rulers took on the attributes of the animal portrayed. External elements such as these ‘whiskers’ would also have been used to attach the nose piece to the face of the wearer.

Simeran Maxwell