This type of sexually evocative ceramic displaying a variety of explicit scenarios moulded in clay, is uniquely Peruvian. While other ancient Peruvian cultures produced similar pots, to date finds of such Moche wares have far outstripped any others.

Despite the seeming variety in these pots, they actually represent a series of standardised types portraying animal couples, or humans shown alone, in couples and in group scenes. Images of male skeletons are common, sometimes shown alone or with a female human companion. Another group focuses on enlarged genitals, usually the male penis, in many cases without the human body attached. The sexual scenes are also varied, displaying fellatio, anal and vaginal sex, masturbation and scenes of individuals being groped, which are sometimes classified as ‘foreplay’ scenes.¹ Despite this apparent diversity, the positions depicted and mould varieties are generally formulaic.

While their exact meaning or function remains unclear, it is agreed that the vessels are of a religious nature. The skeleton figures are often depicted with fangs, suggesting a connection with Moche feline supernatural beings. Almost all such pots have been recovered from grave sites, and therefore they were obviously part of Moche funerary rituals. Unfortunately many of these sites have been looted, so understanding their specific role, in the context of their original placement, has been difficult. However, it has been observed that they were deposited in both male and female, adult and child graves, and that no more than two vessels have ever been found in any one site. This indicates that, despite the existence of a large number of pots depicting disembodied phalluses, they were not gender specific in their purpose.

Early Spanish conquistadors noted a form of ritualised sexual activity at feasts and religious festivals, although they would have been describing Inca ceremonies, not Moche. Similarly, recently recorded native myths reinforce the symbolic importance of semen in relation to agricultural fertility,² but this does not explain several female same-sex scenes. Alternative theories have suggested that perhaps these ceramics are simply humorous, especially since, when filled with liquid and poured, they suggest ejaculation.³

Simeran Maxwell

1. Susan E. Bergh, ‘Death and renewal in Moche phallic-spout vessels’, RES: Anthropology and Aesthetics, no. 24, Autumn 1993, p. 79.

2. Bergh, pp. 82–83.

3. Bergh, p. 88.

This type of sexually evocative ceramic displaying a variety of explicit scenarios moulded in clay, is uniquely Peruvian. While other ancient Peruvian cultures produced similar pots, to date finds of such Moche wares have far outstripped any others.

Despite the seeming variety in these pots, they actually represent a series of standardised types portraying animal couples, or humans shown alone, in couples and in group scenes. Images of male skeletons are common, sometimes shown alone or with a female human companion. Another group focuses on enlarged genitals, usually the male penis, in many cases without the human body attached. The sexual scenes are also varied, displaying fellatio, anal and vaginal sex, masturbation and scenes of individuals being groped, which are sometimes classified as ‘foreplay’ scenes.¹ Despite this apparent diversity, the positions depicted and mould varieties are generally formulaic.

While their exact meaning or function remains unclear, it is agreed that the vessels are of a religious nature. The skeleton figures are often depicted with fangs, suggesting a connection with Moche feline supernatural beings. Almost all such pots have been recovered from grave sites, and therefore they were obviously part of Moche funerary rituals. Unfortunately many of these sites have been looted, so understanding their specific role, in the context of their original placement, has been difficult. However, it has been observed that they were deposited in both male and female, adult and child graves, and that no more than two vessels have ever been found in any one site. This indicates that, despite the existence of a large number of pots depicting disembodied phalluses, they were not gender specific in their purpose.

Early Spanish conquistadors noted a form of ritualised sexual activity at feasts and religious festivals, although they would have been describing Inca ceremonies, not Moche. Similarly, recently recorded native myths reinforce the symbolic importance of semen in relation to agricultural fertility,² but this does not explain several female same-sex scenes. Alternative theories have suggested that perhaps these ceramics are simply humorous, especially since, when filled with liquid and poured, they suggest ejaculation.³

Simeran Maxwell

1. Susan E. Bergh, ‘Death and renewal in Moche phallic-spout vessels’, RES: Anthropology and Aesthetics, no. 24, Autumn 1993, p. 79.

2. Bergh, pp. 82–83.

3. Bergh, p. 88.