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 cannotbe 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, whilemodern 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. asig 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 23places 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)