Urpu storage jars are the most common artefacts remaining from the Inca culture, as the invading Spaniards valued gold and silver more than ceramics or textiles. Their very modesty and domestic purpose preserved many thousands of examples. Urpus were made in every size, from small to large, and were used in everyday life as well as for grave goods to serve the dead. Round in shape with a lipped neck, a pair of handles and a conical base, their form remained constant for decades. Because the vessels reminded archaeologists of Greek perfume jars, they used the term ‘aryballos’ to describe them, although there is no connection beyond the similar shape, which is dictated by how the vessels are used.

The jars were made both to transport and to store liquids, especially chicha (corn beer) and water, and for food. As llamas can only bear about 30 kilograms, urpus were carried by people using straps that wound around the ceramic, and they were lodged upright against the spine. The small protuberance below the urpu’s neck was usually made in the form of a stylised animal’s head, and stopped the strap from slipping. Two small pierced lugs on the rim were used to secure a cover of skin or cloth over the jar’s neck, to prevent spilling and spoilage of the contents. The pointed base helped when pouring: the large, heavy jar was set into sand or soft earth and tipped when needed, as this avoided the need to pick it up and minimised spills.

As is the norm with Incan ceramics, colours were restricted in range. Usually, warm red, brown or orange fired clays were the base for painted black decoration, although sometimes the vessel might have a cream or yellow painted slip. Black patterns appear in vertical or horizontal bands, often based on natural motifs such as stylised fern fronds. Occasionally butterflies or birds were depicted, or abstract motifs such as stripes, triangles and squares. A few examples were rich and ornate, for example a garden of animals, insects and plants might divide fields of pattern. But normally, artistic sobriety prevailed.

Christine Dixon

Urpu storage jars are the most common artefacts remaining from the Inca culture, as the invading Spaniards valued gold and silver more than ceramics or textiles. Their very modesty and domestic purpose preserved many thousands of examples. Urpus were made in every size, from small to large, and were used in everyday life as well as for grave goods to serve the dead. Round in shape with a lipped neck, a pair of handles and a conical base, their form remained constant for decades. Because the vessels reminded archaeologists of Greek perfume jars, they used the term ‘aryballos’ to describe them, although there is no connection beyond the similar shape, which is dictated by how the vessels are used.

The jars were made both to transport and to store liquids, especially chicha (corn beer) and water, and for food. As llamas can only bear about 30 kilograms, urpus were carried by people using straps that wound around the ceramic, and they were lodged upright against the spine. The small protuberance below the urpu’s neck was usually made in the form of a stylised animal’s head, and stopped the strap from slipping. Two small pierced lugs on the rim were used to secure a cover of skin or cloth over the jar’s neck, to prevent spilling and spoilage of the contents. The pointed base helped when pouring: the large, heavy jar was set into sand or soft earth and tipped when needed, as this avoided the need to pick it up and minimised spills.

As is the norm with Incan ceramics, colours were restricted in range. Usually, warm red, brown or orange fired clays were the base for painted black decoration, although sometimes the vessel might have a cream or yellow painted slip. Black patterns appear in vertical or horizontal bands, often based on natural motifs such as stylised fern fronds. Occasionally butterflies or birds were depicted, or abstract motifs such as stripes, triangles and squares. A few examples were rich and ornate, for example a garden of animals, insects and plants might divide fields of pattern. But normally, artistic sobriety prevailed.

Christine Dixon