Townsend, Chicago: Art Insti
JONAN REINHARD
red Landscapes,
of Chicago, 1992
ed. by
Richard
INTERPRETING THE NAZCA LINES
On the arid coastal plain of southern Peet
arose a culture that was to become one of the
tuest famous int the prehistory oF that coun:
tay, Between roughily 200 8 and AD 600, the
people inhabiting the Nazca River system
made textiles and ceramics that were of the
highest technical and artistic quality. Thanks
to the desert climate, many of these ebjects
awere well preserved and can be seen in mu
seumis much as they appeared to the people
who made them nearly two thousand years
ago. Among the finest collections of Nazca
ceramics are these of the Museo Nacional de
Antiopologia y Argueologia in Lima and in
The Art fastitute of Chicago (see, for exam
pele figs. 2,8, 12,15, 1, 18)
The Nazca people also consticteil large
pyramidal structures for ceremonial purposes
and an intrirate system of underground
canals, the latter apparently unique inv the
Americas} However, it was the discovery,
over filly years ago, of giant desert markings
that brought the Nazca culture to the public
eye. Large figures and lines constructed on
the desert surface near the town of Nazca
came to he valled “one of the mest batflin
enigmas of archaeology” (see lig. 1). The
figures comprise dsaw ings of animals, fish,
birds, geometrical designs, anc even enithro-
pomorphic figares, all made on such a scale—
some arv over one hundred meters long— that
they can be seen without distortion only
from the ait, The term used today to describe
a drawing on the earth's suriace is geoglyph,
but the lines ond figures at Nazca came to be
called collectively the Nazea Lines, Theit
meaning has continued to puzzle archacoto:
gists to the present day.
‘The Nazca Lines are not the only geo-
iglyphs in South America, In Peru, important
figures have been found in other coastal
plains and yalleys—for instance, in the amt
‘Santa, and Sechin Yalleys on the north coast,
in the Pampa Canto Grande to the north of
Nazca, and in the Sihuas Valley to the south,
Numerous geoglyphs have been found alse in
northern Chile Although at times impres-
sive, none of the concentrations of these
bother geoglyphs cant rival chat Found om the
dlesert plain near Nazca in tke variety and
elaboration of forms
“There is little doubt who mace the Nazca
geoglyphs. Many of the figureson the desert
Fig | Aeialvieot Noe
Times avon on ne sun
toast dear. Pen, Sie
I: Pastore ase
Urges 12 Seca ines
Tomed paces
ain gtlting phe
‘tyottnd attest the
lal care ioe
essed
ig 2 Male fue eating
usshel ela,
Pt, Basa, 2000
Ceramie, Museu harional
ie Aniogoegiay
Arquesiagta, Lins, Peto
Dit Baker. Ct. aD)Fig 8 Aenad wi of Naz
lines eputg mgtsicl
Aish with stark okies
‘ues Pte, Nac
70. phate Sericin
nego de Pera
Giant ignesdsa on the
esr repeat he fs
eeemics ed
Fonnertad with ea the
on pint
Faget Yenel depicting
rpaietik idle, ai
urea figare re Nae,
S030, Ceranse, Pe ae
Instr o Caicage,
[Or BS
aon
ae also portrayed in the ceramics and tex-
tiles of the Nazca culture (compare, for
example. figs. 5.4). Moreover, much of the
pottery found at the geoglyphs was of Nazca
origin. A C-H date of wood from a post in the
REINHARD
atea of the geoglyphs falls within the time
frame of the Nazca culture,
The construction of the geoglyphs has
often been desevibed as requiring advanced
technology, some authors even claiming that
the lines Could not have teen made without
aerial supervision’ However, it has been suc
cessfully demonstrated that the huge desert
figures could have been amplified rom scale
models using elementary tools and tech
niques? The geoglyphs are formed when
gravel with an oxidized surface, which covers
the land, is removed to expose the light soil
below. The almost total lack of rain in this
region has been a primary reason that the
lines have survived until the present ilay:
While the basic questions as to who cre-
ated the geoglyphs, as well as when and how:
they were made, appear to have been an-
swered, the question as to why continues ta
raise controversy. It is not possible to exam-
ine here the many theories that have been
presented to explain the geoglyphs* Some
theories (such a5 the one that they were
made hy extraterrestrial) have no scientitic
basis and ignore much of the information
available on the geoglyphs and on Nazca cul-
ture. One of the most widely accepted the-
cries is that the geoglyphs were used as aids
in making astronomical observations? Recent
studies, however, show that the alignments
are no more accurate than would be expected
tooccur by chance." Also, many of the lines
are shorter o longer than necessary, do not
point to areas where the most significant as-
tronomieal activity takes place, and cannotbe dated accurately enough to deal with
problenis of changes in the positions of celes
tial bodies through time, Moreover, it has not
‘yet been possible to relate scientifically the
geomewie and zoomorplic figures co astro
homical observations. The geoglyphs are left
largely unexplained by this theory.
Because they lived it a desert climate,
the Nazca people would obviously have been
roncerned with their relationship to the nat-
ural environment. Indeed, such a concern
wos common throughout the Americas and
has continued to be so in coastal South
America to the present time. In the case of
the Nazca people, we see this demonstrated
by motifs on their ceramics. The immense
repertory of motifs includes various bind spe-
cies, reptiles (see fig. 12), mammals, and fish.
as well ay cultivated plants such as achira
(see fig, ), maize (see fig. 7), and ice
{see lig. 6). An ingenious adaptation 10 the
desert is seen also in the elaborate system of
underground filtration canals that were con
stmeted over many centuries. Water has
always been a critical problem because the
Nazca River does not have water for some
months of the year and may have none at all
for several years. If there were insufficient
rainfall in the mountains to the cast, the
rivers would dry up. and the underground
water currents would also gradually disap
pear. Since the Nazca people were dependent
on an imensive agriculture utilicing irriga-
tion, their position was always precarious."
The beliefs held by the Nacea are ind
cated by the archaeological remains, the
abundant imagery on Nazca ceramics, ac
counts written in Spanish colonial times as
to aditional worship, current beliely thet
Fg. 4 Ses te tom of
sucht ya, Py, aa,
Teno, Coane. thee
Tostimteof Cea at
Fg. 6 Wess inthe tom
offing fits. Bo
Dae, UG Cra
sn Nacional de
aaa y Argues,
Lua, Pats Diek Sokset
(anna 19%Fig. 7 Mise depicting,
ripening maize: Peru,
a, 0810 Cera
cna
2a x Aruoolgia
Luma. Phas Dns Bake,
at.)
Fin 6 Wem chewing
ca Pars, Nae, 2OFDD,
Csranit Museo Sicinal
‘ds Antrapolog
auqueubya, Lia Photo
Dinhabhes, (Cal me. 20)
are rooted in the past, and an examination
of the essentially unchanged ecological
situation, These different sources help in
developing a broad interpretation of the
Nazca yymbolic system and what their an-
cient belicfs might have been and, in particu:
lar; how the Nazca people could have related
the geoglyphs to the natural environment
In the Tate 1500s and early 1600s, the dei
ties that were worshiped at Nazca prior to
the arrival of the Spanish were identified as
mountains and springs. The principal deity
‘was @ mountain of sand.” This mountain,
now called Cerra Blanco, dominates the towa
of Nazca. According to local legend, it is as
sociated with the highest mountain on the
eastern horizon, Ila-kara, with a still more
distant snow peak, Carhuarazo, and with the
mountain Tanga near the coast. Hlackata is
the mountainfweather deity that is thought
Lo supply the surtace water of the Nazca
River, while Tunga is linked with the god of
the sea. A lake believed to exist in the center
of Cerra Blanco leeds the underground canal
system, Pre-Iispanie ritual sites were found
fon the topy af Ila-Kata anel Tunga, whilemodern offerings have been seen on Cerro
Blanco’s sandy, an thus constantly: shifting,
summit, Sea shells and river stones, both
common offerings for water, were found,
respectively, om the surumits af Tange anel
Cerro blanco.”
Current rituals at Nazea also occur as part
ofa mountaintwater cult, and offerings for
rain are made-on moantains to the east of
Nazca, Although distant from Nazea, straight
lines ave still being used in the Andean high
lands as sacred paths 16 reach points trom
whiet the surrounding water sources, prin=
Lipally mountains, are worshiped (see fig, 9).
These sacred lines may’ belong either to ind:
vidual families or entire villages. I this was,
the case at Nazca, the numerous lines might
hhave been made by different groups. eon-
structing them through tke centuries."
AL Nazca, sea shells andl remains of cere-
monial vessels for liquids were found at some
of the geoglyphs, especially at mounds of
stones at the centers of converging Lines
(ray centers’) or at the ends of trapezsidal
figures (ee fig. 1). Clearly, those mounds at
which offerings were made had a ritual sig
nificance. During the Inca period (and sti
today}, stone motinds were used as places
for making offerings to mountains, and they
were often perceived as representing the
mountains themselves."
According to one study, the orientations,
of the triangles and trapezoids are statisti
cally correlated with the flow of wat
the ray centers are generally situated relative
to the river system.” The evilence indicates,
therefore, that the straight lines were utilized
in ceremonies relating to a water cult, likely
as ritual paths to places at which afferings,
were maile, Ioday, the lines in the Andean
highlands ore said to have been kept straight
ened in order to gain religious merit and be
cause this added to their power. The more
open triangles and trapezoids were probably
peered abe cesta
2 Tne
iad ib. asig 10 Asequence ot
raps eas a es
seve arta atts and
owes, bert Bez,
aon, eee Maney
rages 1,
Fig mining
ea tees
Maly Biles 23places where larger groups gathered for such
ceremonies. We know that, both during the
Inca period and in recent times, offerings
were made in apen places. including plazas.
to the surrounding water sources, smong
which the most import
“The geometric figures can be inverpreted
similarly. Spirals, zigzags, and oscillating mo~
«ifs were common in South America and have
been widely interpresed as motils of a water
cult." For example, vigzags represented light~
ning and rivers, while spitals symbolized
sea shes and, thu, the ocean, which was
perceived as the source of all wacer,
Animal and plant figures have particu:
larly puzzled observers, but they, too, begin
to make sense when analyzed in terms of tra-
ditional Andean beliefs. Let us first examine
the bird figures, Today at Nozea, the sighting
ofa heron. pelican, or condor is interpreted
asa sign that it will rain in the mountains.
The condor is widely believed to be the mani-
ni were mountains.
festation of the mountain gods, Insome
areas, hummingbirds are considered inter
mediaries with, or even manifestations of,
mountain gods (see fig. 11), The various
sea birds have aa obvious association with
the ocean
Tuming to the animal and insect figures
the monkey and lizard may have been seen as
protectors or as symbols of water because a!
their association with places where water is
axailable. When many lizards are oui. this is
taken asa sign that it will rain (see fig. 12).
Large marine crcanues need no further com
ment in this context; the identification of &
shark or killer-whale moti! could indicate
that it played a role in rituals for stuccess in
fishing (see fig. 3), Foxes (see fig. (3) are
perceived in some areas as the “dogs” of the
mountain gods, and the Incas tied dogs out to
how! until the Weather God sent rain, Spiders
and millipedes also appear when i, is about
te rain (see figs. 15, 15)
fe ea i
2 oublespon
ste dapieing les
fer, Nate, A,
(Coan. et sta
tae. Czas sux
ree ede,
nse ty radars
: a
ae a i Co ae
bids (Cat en. 8)Fig 1 Veneldepicting
ny ia anes,
Nica, 264 Gem
Thea tstinteot
baby pmlc ot
nostro
felis ight
ae ancage what
swine. (C012)
ig. M4 Die shape jn
pis ened
gate Pen, Na, SO,
Canim, the Ar fnattite
Df Cheng, Cae. 12)
Doe
Flowers, algae, and trees ate also betieved
tobe depicted on the desert, In-an arid cli-
mate, these can all be interpreted as fertility
symbols, and there are also more specific
ways that they may have been perceived
within this context, Flowers are used in it
uals 10 the east of Nazca to invoke the moun-
lain deities that bring rain, scaweeil appears
ina ceremony to induce rain, and wood
swas employed in the construction of the
filtration canals.
The anthropomorphic figures on the hill
sides near Nazca are generally versions of
REINHARD
figures found in Nazca ceramic iconography
(ee figs. 14, 15, 16). Their contexts and.
accompanying details have led most re-
searchers to the conclusion that they rep
resent deities associated with agricultural
fertili
A major tbeme of Nazca ceramic art
features compiles figures with feline faces,
human trophiy-heads, and shark or killer-
whale appendages, probably alluding to war
the taking of heads, and the use of blood of
ferings to earth, sky. and water. Similarly
dressed figures may have appeared in rites
y and water,designed to “iced” the natural elements 1ipon
which human existence depended (see fig
1). Other figures pertain to rites of the har
vest season (See fig. 17), The relationship
between this imagery anil the Nazea terrain
is further borae ont by a vessel depicting a
desert Landscape on its surface yet intended
to contain liquid within (fig, 15), and by
a remarkable drum in the stape of aman,
covered with a complete “text” of signs and
symbols pertaining th che Nazca world view
lig. 18), Similar observations can be made
about the imagery of spectacular feathered
textiles, which may show symbolic animals,
metaphoric figures, the sun, and many other
motifs, including abstract forms ésee Figs. 19,
20), A Few of the ligures—the spider, the dog.
and the monkey, for instance—sometimes
appear to have extenced sexual parts. This
has been interpreted by some scholars as in=
dicating that these animals had roles inva
fertility cult®"a theory that is in accowd with
the general conc sion reached here.
The explanation of the lines and figuses
as having played roles in a wateréfertility cult
still leaves unanswered the question of why
many were made on such a large scale anel
can best be seen only trom the air. Weather
deities, generally perceived as tesiding in
mountains, were—and still are— widely
thought to oversee theirdomains, either by
manifesting themselves as birds or by taking,
Ube form of a mythological flying felane.
Thus, the construction of the figures would
have been seen as a means of attracting their
attention in order to invoke an increase in
crop fertility, especially through the means
of « stable water supply."
Fog 15 tal igus wt
Dunaeede appendage
nye tes er
Nia 20 Pa: aa
cima
ig. rowing of des!
seve dies
‘enamel perforate,
i 206 The Ae
Inston of Cicago
Draw: Janie Bees
Fig. Dea ag al
asl are esse
Ak pitngansest kata
pul, Fer, Nae
S229), The Art ae
ef Chica. Drawing
Jostne Benes.The interpretation provided above covers
the vast majority of the geoglyphs at Nazca.
Given the lack of historical information dat-
ing to the time the geoglyphs were made, itis
Clear that their precise meanings will never
be known. Symbols can vary in meaning over
time and, indeed, can change, depending
upon their Contexts, even within the same
time period. We know, however, that many
basic concepts have remained relatively
stable over several centuries it the Andes,
Same typeso/ artistie representations have
been only slightly modified over two millen
nia, and some concepts, shared throughout
Ube Andes at the tine oF the Spanish con:
quest, have persisted to the present day,
despite Christian proselytism,
‘According to one of these basic concepts,
ei ies residing in mountains controlled
metercological phenomena (rain, hail, snow,
frost, clouds, lightning, ere.) and, thus, the
fertility of crops, livestock, atid, ultimately,
humans. Such a beliel has 4 sound ecological
basis, since mountains do play a critical role
4x the condensation of rainland formations,
and rivers lead down from them into valleys
and across the plain to the sea. This helps to
explain why mountain worship was of such
widespread importance at the time of the
Spanish conquest in many regions, including,
the coast of Pen, and why itcontinues to
be so in traditional communities to the pres-
ent day.” The cult of the mountains as life
giving icons has played a central role it the
‘Andean people's relationship with the nat-
ural world around them,
By viewing the geoglyphs from the per-
spective of sacred geography, we can explain
diverse data ina logically consistent manner
that is in accord with traditional Andean
hebels and with the available archaeological,
ethnographic, and historical material. Al
though we can never completely decipher the
Nazca Lines, we can go beyond Fanciful inter
pretations and come closer to understanding
the practical Concems and world view of the
people who were responsible for constructing
what became one of the greatest mysteries
of archaeology.
Fg. Tanicdkpising
Fins and ain fe
Razea, S240 Cami
‘oo att, a eaten,
The Aa trite ct
Chea Fetbetsfor
‘orem poochs and
rashes we chine fm
hindsotthecoas and he
smazoy sin. ferbscal
rqurements weaning
‘rather prude anise,
‘smi apes,
de hnagers ees
Siaiardiec beets ke
area sual epestny
ate 10)
Fig. 28 lesiewit sr
dati Soh eet Pe
pavea, miso, Ceti
fatter. lan Baan
‘alley, Has New
otk (Ca. 198)