This figure comes from Chan Chan, where an excavation at the El Dragón site in 1948 uncovered a significant group of these wooden objects. Several rooms that had been temple workshops, producing large numbers of similar sculptures for ceremonies, were uncovered at that time.¹

Debate continues about the purpose these figures served in burial rituals and the afterlife. Although they were originally thought to have been worshipped as idols, more recent research suggests that they performed a more narrative function and were positioned in graves to act out sacred rituals. This is supported by the variations in gender and physical positions.² Both male and female sculptures of this type and size have been found, identifiable by their different attire and round headdress. This male figure wears a loincloth wrapped in such a way that the decorative flap falls to the front of his lower torso. The back of the figure is relatively flat and lacks carved detail. The subtle suggestion of the seat of his loincloth is just visible.

Typically, the sculptures’ mask-like faces are distinctively flat, with oval-shaped chins. The headdresses of all male figures are similarly square, and large circular ear ornaments protrude behind the sharp curves of their jowls. Like this sculpture, most are depicted standing rigidly, although some seated figures have also been found. Variations in the position of the arms are also evident and, while this quite symmetrical figure holds a cup directly in front in his clasped hands, others are shown with one arm raised to hold a litter, or with a semi-circular cup resting in one hand.

A length of wood—used to carry the figure in procession or plant it firmly in the ground—often projects from the base of these sculptures. Physiology also varies, with some figures displaying distinctive humpbacks. The figures are generally made from two types of wood—a light-brown, balsa-like wood or a hard dark-brown algarroba wood—and the colour of this sculpture suggests the latter.

Some figures are inlaid with shell to accentuate the eyes, create ear ornaments, and to indicate other body decorations. Precious metals were sometimes embedded, or feathers adhered to the wood. Many of the faces were coated in cinnabar and this may have originally been the case with this object but, like many others, it has subsequently been cleaned (see cat. 121). The red pigment was used to emulate the gold masks, commonly decorated with cinnabar, which often covered the faces of the dead.³

Simeran Maxwell

1. Richard P. Schaedel, ‘Wooden idols from Peru’, Archaeology, vol. 4, no. 1, March 1951, p. 17.

2. See Margaret A. Jackson, ‘The Chimú sculptures of Huacas Tacaynamo and El Dragón, Moche Valley, Perú’, Latin American Antiquity, vol. 15, no. 3, September 2004, pp. 303–05.

3. Jackson, p. 301.

This figure comes from Chan Chan, where an excavation at the El Dragón site in 1948 uncovered a significant group of these wooden objects. Several rooms that had been temple workshops, producing large numbers of similar sculptures for ceremonies, were uncovered at that time.¹

Debate continues about the purpose these figures served in burial rituals and the afterlife. Although they were originally thought to have been worshipped as idols, more recent research suggests that they performed a more narrative function and were positioned in graves to act out sacred rituals. This is supported by the variations in gender and physical positions.² Both male and female sculptures of this type and size have been found, identifiable by their different attire and round headdress. This male figure wears a loincloth wrapped in such a way that the decorative flap falls to the front of his lower torso. The back of the figure is relatively flat and lacks carved detail. The subtle suggestion of the seat of his loincloth is just visible.

Typically, the sculptures’ mask-like faces are distinctively flat, with oval-shaped chins. The headdresses of all male figures are similarly square, and large circular ear ornaments protrude behind the sharp curves of their jowls. Like this sculpture, most are depicted standing rigidly, although some seated figures have also been found. Variations in the position of the arms are also evident and, while this quite symmetrical figure holds a cup directly in front in his clasped hands, others are shown with one arm raised to hold a litter, or with a semi-circular cup resting in one hand.

A length of wood—used to carry the figure in procession or plant it firmly in the ground—often projects from the base of these sculptures. Physiology also varies, with some figures displaying distinctive humpbacks. The figures are generally made from two types of wood—a light-brown, balsa-like wood or a hard dark-brown algarroba wood—and the colour of this sculpture suggests the latter.

Some figures are inlaid with shell to accentuate the eyes, create ear ornaments, and to indicate other body decorations. Precious metals were sometimes embedded, or feathers adhered to the wood. Many of the faces were coated in cinnabar and this may have originally been the case with this object but, like many others, it has subsequently been cleaned (see cat. 121). The red pigment was used to emulate the gold masks, commonly decorated with cinnabar, which often covered the faces of the dead.³

Simeran Maxwell

1. Richard P. Schaedel, ‘Wooden idols from Peru’, Archaeology, vol. 4, no. 1, March 1951, p. 17.

2. See Margaret A. Jackson, ‘The Chimú sculptures of Huacas Tacaynamo and El Dragón, Moche Valley, Perú’, Latin American Antiquity, vol. 15, no. 3, September 2004, pp. 303–05.

3. Jackson, p. 301.