The shapes of these two metal basins were created in a similar way, using a rolling and hammering technique. They also served the same ceremonial purpose, although the contrasting use of gold and silver relates to ancient Peruvian ideas of dualism: the right side, male and the sun were represented by gold, and the left side, female and the moon by silver (see cats 62, 63). In the burial chamber, each basin would have been placed on the corresponding side of a body. Similar bowls were bipartite, with opposing halves made from gold or silver joined along the centre.¹

These bowls demonstrate the different decorative techniques used by Chimú craftsmen on metal items. In the case of the silver basin, the pattern has been engraved on the exterior using a burin tool. The gold alloy basin shows the use of the repoussé technique: by pressing into the exterior with a blunt tool, a pattern was created on both the inside and the outside simultaneously. A carved design on the outer surface is raised on the inner surface, in a mirror image. On other Chimú metal receptacles, the reverse can be observed.

The complex pattern on the outside of the silver bowl centres 
on a small encircled figure with arms raised in a traditional ‘V’. He wears only three main items: a large crescent-shaped headdress with stylised feathers, circular ear ornaments, and a striped fabric around his waist worn as a loose loincloth. This figure is surrounded by three larger characters, similarly clad in crescent feathered headdresses, ear ornaments and loincloths. In turn, their hands are linked with other adorned figures, seen in profile. Smaller figures, also in profile, are engraved in the intervening empty spaces, along with stylised spondylus shells with spiky tops and rounded bases (see cat. 23). The central figure is repeated again in an upper register.

Constructed of a common alloy of copper, silver and gold, the golden bowl is decorated with five registers of figures emanating from a blank circular centre, which is surrounded by birds flying in opposite directions, with their tails touching. The designs on two of the registers are partitioned by incised bands. The edge is finished with a repeated step pattern, a common ancient Peruvian motif that may have symbolised the geometric form of temples. Drawn in profile, three human figures—wearing headdresses and ear ornaments, and holding the bags used to carry severed heads—are surrounded by various birds, iguanas, dogs and monkeys.

Simeran Maxwell

1. See the Museo Larco online catalogue, ML100865, accessed 7 October 2013, http://www.museolarco.org/catalogo/ficha.php?id=9412.

The shapes of these two metal basins were created in a similar way, using a rolling and hammering technique. They also served the same ceremonial purpose, although the contrasting use of gold and silver relates to ancient Peruvian ideas of dualism: the right side, male and the sun were represented by gold, and the left side, female and the moon by silver (see cats 62, 63). In the burial chamber, each basin would have been placed on the corresponding side of a body. Similar bowls were bipartite, with opposing halves made from gold or silver joined along the centre.¹

These bowls demonstrate the different decorative techniques used by Chimú craftsmen on metal items. In the case of the silver basin, the pattern has been engraved on the exterior using a burin tool. The gold alloy basin shows the use of the repoussé technique: by pressing into the exterior with a blunt tool, a pattern was created on both the inside and the outside simultaneously. A carved design on the outer surface is raised on the inner surface, in a mirror image. On other Chimú metal receptacles, the reverse can be observed.

The complex pattern on the outside of the silver bowl centres 
on a small encircled figure with arms raised in a traditional ‘V’. He wears only three main items: a large crescent-shaped headdress with stylised feathers, circular ear ornaments, and a striped fabric around his waist worn as a loose loincloth. This figure is surrounded by three larger characters, similarly clad in crescent feathered headdresses, ear ornaments and loincloths. In turn, their hands are linked with other adorned figures, seen in profile. Smaller figures, also in profile, are engraved in the intervening empty spaces, along with stylised spondylus shells with spiky tops and rounded bases (see cat. 23). The central figure is repeated again in an upper register.

Constructed of a common alloy of copper, silver and gold, the golden bowl is decorated with five registers of figures emanating from a blank circular centre, which is surrounded by birds flying in opposite directions, with their tails touching. The designs on two of the registers are partitioned by incised bands. The edge is finished with a repeated step pattern, a common ancient Peruvian motif that may have symbolised the geometric form of temples. Drawn in profile, three human figures—wearing headdresses and ear ornaments, and holding the bags used to carry severed heads—are surrounded by various birds, iguanas, dogs and monkeys.

Simeran Maxwell

1. See the Museo Larco online catalogue, ML100865, accessed 7 October 2013, http://www.museolarco.org/catalogo/ficha.php?id=9412.