One of two distinctive forms of Recuay art is sophisticated pottery—the other is monolithic sculpture. The main centres 
for Recuay pottery production were located in the highland region of Ancash.

Most notable was their use of light kaolinite clay,¹ characterised by its chalky-white to light-grey colour, which was fired at higher temperatures than terracotta. Clay shrinks when it dries, something the Moche took advantage of when they invented pottery moulds (see cat. 90). Kaolinite shrinks considerably less than most other clays used by ancient Peruvians in making ceramics. It is described as ‘alumina-rich clay resulting from advanced weathering of acid rock … result[ing] in acid leaching’.² Because of these specific geological conditions, ceramic production using this type of clay was restricted to certain localities in Peru. In some instances, kaolinite was combined with other clays to produce pink hues.

Recuay potters were particularly skilled at hand-modelling intricate sculptures of figures and architectural scenes on their pots. There is very little evidence of what is known as ‘wasters’ (pots that did not work), although it should be noted that as yet no Recuay kilns or production areas have been identified. Three main colours were used: red, white and black. The Recuay embellished their ceramics with both resist techniques and coloured slips.

Pottery fulfilled many functions: plain ware with little or no decoration was for everyday use, while ‘fancy’ ceramics were used as grave goods, ritual offerings, and during libation ceremonies and ritual or ceremonial feasts.³ When used as funerary objects, they are found in pairs.

Recuay was a warrior culture, and warfare is a recurring motif in its pottery and stone sculpture. Images of battles between the Recuay and the Moche have also been identified on Moche fine-line pottery, and undoubtedly the Recuay interacted with other cultures, including the Virú-Gallinazo and, during the late period, the Huari. While not all contact was aggressive, and some trade would have taken place, the preoccupation with warfare is prominent in works like this pot. The importance of status and wealth is also evident.

Here, a warrior stands, one hand grasping his shield, the other resting on a llama. The vessel’s spout protrudes from its back. Unlike on Moche pottery, weaponry is not clearly delineated on contemporaneous Recuay ceramics.⁴ The man’s regalia is extraordinarily sumptuous. He wears a typical long tunic over which is draped a slightly shorter cloak. His ornate headdress, with three paw motifs in the lower band, would probably have been constructed from organic material. Two serpents adorn the top of each huge circle, and the decapitated trophy head set at the apex is a recurring motif in Recuay art. The two large circles are reminiscent of owl’s eyes. The extravagant nature of the headdress, only worn by military leaders, confirms the wearer’s high status. His large ear ornaments mimic the style of the headdress, again attesting to the prestige of the warrior. Wooden versions of this type of figure have also been found.⁵

Simeran Maxwell

1. An earlier terracotta white-on-red style, however, existed in the Huarás region from around 200 BC – 200 AD.

2. George F. Lau, Andean expressions: Art and archaeology of the Recuay culture, Iowa City: University of Iowa Press 2011, pp. 138–39.

3. Lau, p. 155.

4. Lisa DeLeonardis and George F. Lau, ‘Life, death, and ancestors’, in Helaine Silverman (ed.), Andean archaeology, Malden, Mass.: Blackwell Publishing 2004, p. 86.

5. Lau, pp. 200–04.

One of two distinctive forms of Recuay art is sophisticated pottery—the other is monolithic sculpture. The main centres 
for Recuay pottery production were located in the highland region of Ancash.

Most notable was their use of light kaolinite clay,¹ characterised by its chalky-white to light-grey colour, which was fired at higher temperatures than terracotta. Clay shrinks when it dries, something the Moche took advantage of when they invented pottery moulds (see cat. 90). Kaolinite shrinks considerably less than most other clays used by ancient Peruvians in making ceramics. It is described as ‘alumina-rich clay resulting from advanced weathering of acid rock … result[ing] in acid leaching’.² Because of these specific geological conditions, ceramic production using this type of clay was restricted to certain localities in Peru. In some instances, kaolinite was combined with other clays to produce pink hues.

Recuay potters were particularly skilled at hand-modelling intricate sculptures of figures and architectural scenes on their pots. There is very little evidence of what is known as ‘wasters’ (pots that did not work), although it should be noted that as yet no Recuay kilns or production areas have been identified. Three main colours were used: red, white and black. The Recuay embellished their ceramics with both resist techniques and coloured slips.

Pottery fulfilled many functions: plain ware with little or no decoration was for everyday use, while ‘fancy’ ceramics were used as grave goods, ritual offerings, and during libation ceremonies and ritual or ceremonial feasts.³ When used as funerary objects, they are found in pairs.

Recuay was a warrior culture, and warfare is a recurring motif in its pottery and stone sculpture. Images of battles between the Recuay and the Moche have also been identified on Moche fine-line pottery, and undoubtedly the Recuay interacted with other cultures, including the Virú-Gallinazo and, during the late period, the Huari. While not all contact was aggressive, and some trade would have taken place, the preoccupation with warfare is prominent in works like this pot. The importance of status and wealth is also evident.

Here, a warrior stands, one hand grasping his shield, the other resting on a llama. The vessel’s spout protrudes from its back. Unlike on Moche pottery, weaponry is not clearly delineated on contemporaneous Recuay ceramics.⁴ The man’s regalia is extraordinarily sumptuous. He wears a typical long tunic over which is draped a slightly shorter cloak. His ornate headdress, with three paw motifs in the lower band, would probably have been constructed from organic material. Two serpents adorn the top of each huge circle, and the decapitated trophy head set at the apex is a recurring motif in Recuay art. The two large circles are reminiscent of owl’s eyes. The extravagant nature of the headdress, only worn by military leaders, confirms the wearer’s high status. His large ear ornaments mimic the style of the headdress, again attesting to the prestige of the warrior. Wooden versions of this type of figure have also been found.⁵

Simeran Maxwell

1. An earlier terracotta white-on-red style, however, existed in the Huarás region from around 200 BC – 200 AD.

2. George F. Lau, Andean expressions: Art and archaeology of the Recuay culture, Iowa City: University of Iowa Press 2011, pp. 138–39.

3. Lau, p. 155.

4. Lisa DeLeonardis and George F. Lau, ‘Life, death, and ancestors’, in Helaine Silverman (ed.), Andean archaeology, Malden, Mass.: Blackwell Publishing 2004, p. 86.

5. Lau, pp. 200–04.