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Who lived during the Middle Horizon?
Since the ancient human image may represent a single individual or possible social group, the term "Agent" allows ambiguity of exact identification. The first three numbers of an agent code represent the primary reference of a human image. The appended dash number represents an artifact example of the agent. Though rare, artifact copies are then numbered. A black and white composite drawing of the head reflects the Robles Moqo style face-neck jars. If provenience is possible, a map displays the possible distribution and activity area of each agent.

For a recent publication on ‘Agent’ analysis please see the following English translation of 2010 La imagen de los Señores de Huari y la recuperación de una identidad antigua. In: Señores de los Imperios del Sol, edited by Krzysztof Makowski, pp.196-209. Lima: Banco de Crédito.

Go to ATTRIBUTES reference page for descriptive design attributes to aid comparison of agent representations.

AGENTS:
    100     105     110     115     120     125     130     135     140    145    150
    101     106     111     116     121     126     131     136     141    146    151
    102     107     112     117     122     127     132     137     142    147    152
    103     108     113     118     123     128     133     138     143    148    153
    104     109     114     119     124     129     134     139     144    149    154

AGENTS as Miniature Figurines: Starting at Agent 300, the following images are rendered in stone and metal and some shell. The list begins with two collections of stone figurines found at Pikillacta (Cusco region) nearly a century ago and then consists of as many known examples found in various Peruvian locations, culminating with the recent excavations at Pikillacta that contribute many metal and shell renditions. Several stone figurines have round or bulbous headgear, such as Agents 303, 312, 317, 326, 342, 345, 349, etc. This type of headdress may indicate ethnic groups within the Tiwanaku culture (Berenguer 2000:66 (3 figures right), 69 (figure bottom left), 70 (2 figures bottom left), 91(figure bottom right); 92-93) (Kolata 2003:Figure 11.10 with nose spool). Valcárcel (1933) identified several other ethnic identities of these figurines. Their presence at Pikillaqta may represent the Wari use of figurines to inventory and identify neighboring groups. Thus, these figurines were likely used as economic management tools, i.e., to mark trading partners or identify tribute participants as the Wari were manufacturing and distributing them around the Wari empire. In otherwords, I suggest that they did not represent Wari's dead ancestors. James Whitley (2002) makes the insightful suggestion that too often speculations about human representations as ancestors "should cease to be the interpretation of first resort."
(see synopsis, 'Wari Miniature Figurines')
    300     310     320     330     340     350     360         370     380     390     400     410    
    301     311     321     331     341     351     361         371     381     391     401     411    
    302     312     322     332     342     352     362         372     382     392     402     412    
    303     313     323     333     343     353     363         373     383     393     403     413    
    304     314     324     334     344     354     364         374     384     394     404     414    
    305     315     325     335     345     355     365         375     385     395     405     415    
    306     316     326     336     346     356     366         376     386     396     406     416    
    307     317     327     337     347     357     367         377     387     397     407     417    
    308     318     328     338     348     358     368         378     388     398     408     418    
    309     319     329     339     349     359     369         379     389     399     409     419    

AGENT: 100
Probably the most common image found due to replication on Pacheco face-neck jars and numerous examples on artifacts otherthan ceramics. The extensive distribution of Agent 100 indicates a Wari person with high social status and acceptance. There are two variations of 100-1 on the Ica tapestry textile discovered by Max Uhle at Ocucaje Site E. (see Hearst 4-4556) The relationship suggests two generations of Agent 100 and Agent 112 combining facial identification marks. This remarkable textile has great potential for documenting an extensive history of social interaction between highland Huari and south coast populations. The 1997 Conchopata excavations produced a version, Agent 100-7, with bow and arrows while kneeling on a curved up pad. The pad is suggested to be a reed boat. The relatively small size of the bow suggests that the weapon may be more symbolic of hunting rather than warfare even to the possibility that Agent 100 is on a religious quest and hunting in a spirit world. Otherwise, Ochatoma and Cabrera (2002) suggest a warrior theme as a possibility.
On Epoch 2 examples this agent wears a 4-cornered hat. For more information on these hats and how to make the Wari version that adds pile threads see: 4-Cornered Pile Hats
MAP
REFERENCES:
100-1     Hearst Museum 2002:4-4556 ;    Uhle 1913:Fig.4 ;    Menzel 1977:Fig.130 ;    Knobloch 1989:Fig.15 ;    Kaulicke 1998:262
100-2 (copy 1)     Tello 1942:Lam.XXIII right ;    Spielvogel 1955:Plate XCIV, photo 2 ;    Ubbelohde-Doering 1967:201
100-2 (copy 2)     Von Hagen 1964:128
100-2 (copy 3)     Lumbreras 1969:243
100-2 (copy 4)     Ubbelohde-Doering 1927:Abb.9 ;    Spielvogel 1955:Plate XCIV, photo 1 ;    Art Institute Chicago
100-2 (copy 5)     Morell 2002:125
100-3     Lapiner 1976:572
100-4     Anders 1986:Fig.7.56a
100-5     Schaedel 1957:Fig.E
100-6     Ubbelohde-Doering 1952:Fig.109
100-7     Knobloch 2000c ;    Isbell 2000:Fig.26, left ;    Ochatoma and Cabrera 2002:Fig.8.5A-C
100-8     Bennett 1946:Fig.10F
100-9     Anton 1962:113 ;    Spielvogel 1955:Plate XCIII, photo 1 ;    Kubler 1975:184 ;    Anton 1972:Fig.205 ;    Anton and Dockstader 1968:Fig.205
100-10     Wagner 1981:Fig.A10B
100-11     Larco Hoyle 1966:Fig.116 ;    Kaufman Doig 1976:234 ;    Stierlin 1984:135 ;    LaFarge 1981:93
100-12     Bennett 1953:Fig.21K
100-13     Lavalle 1989:cover ;    Reid 1986:Plate 33
100-14     Isbell and Cook 2002:Fig.9.13     Knobloch 1999
100-15     Watanabe 2001:Fig.4
100-16     Angeles y Pozzi-Escot 2001:Fig.10A y 10B, lower left
1. Posture Elements 2. Accessory Elements
1.1.01 Divided into 2 design fields
      See also:     103
1.1.03 Design elements that fill a design field
    1.1.03.01 stepped frets
2.1.02 Cap with headbands (probably represent
strips of textile wrapped around head)
    2.1.02.17 band of diamond pattern
      See also:     107
2.1.10 Four-cornered cap with alternating stepped pattern
    2.1.10.01 headband of diamond design elements
2.2.02 Tunic: tie-dyed into contrasting circles
      See also:     104     129
2.2.03 Tunic: diagonally split pattern of face
      See also:     101
2.5.02 Bow and arrows
      See also:     105
2.5.07 Ceramic vessel
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AGENT: 101
This agent appears in high status depictions though with limited spatial distribution. He is most common in the Ayacucho basin area. However, he has been depicted on a textile from Huaca Malena, Asia Valley (#101-18) in which he is a prisoner of a Profile Deity similar to Menzel's (1977:Fig.66) 'Walking Angel' from Tello's Conchopata style urns (Spielvogel 1955:Plate 21, Figs.2a,b). And on a bottle found at the Castillo de Huarmey (#101-17) in which he is depicted wearing a tie-dye tunic, conical hat and sitting on a reed boat associated with a "ventral animal" and "killer whale ventral animal version" derived from Chakipampa style - though this bottle most likely represents Viñaque Epoch 2 pottery. My analysis of his depiction on Conchopata urns suggested that he was a powerful leader (Knobloch 2000b:Fig.10, 11) utilizing shamanistic tools (such a mirror to reflect and control the sun's rays) to acquire a high status role. His confrontational stance on the Ica textile in facing Agent 100, would suggest a power struggle that coalesced into a possible Wari federation of ethnically distinct groups. (see Hearst 4-4556) On 101-15, he is depicted three times on a jar that may indicate that this agent represents several individuals with the same socio-ethnic identity. This vessel is very similar to 101-6 in size, shape pigmentation, and design structure as well as the obvious depiction of three individuals with molded heads. Moreover he wears a tunic described by Susan Bergh's (1999:796-811) "profile creature", Type 02. Of the 8 examples, two were from Las Trancas (Nasca region) and one from Huanca Sancos caves (Province of Cangallo). A mummy also wears this type of tunic in the Locarí grave (Nasca region) dated by Menzel (1964:25) as Epoch 1B based on associated pottery. No four-cornered hats were recovered from the grave however. Agent 101's four cornered hat does not have a headband of diamond shapes and always displays tassels. For more information on these hats and how to make the Wari version that adds pile threads see: 4-Cornered Pile Hats
MAP
REFERENCES:
101-1     Hearst Museum 2002:4-4556 ;    Uhle 1913:Fig.4 ;    Menzel 1977:Fig.130 ;    Knobloch 1989:Fig.15 ;    Kaulicke 1998:262
101-2     Bennett 1953:Pl.8A,B
101-3     Bennett 1953:Fig.15D ;    Spielvogel 1955:Plate XLIII, photo 1 ;    Spielvogel 1955:Plate XLIII, photo 2
101-4     Knobloch 2000c ;    Knobloch 2000b:Fig.10b
101-5     Knobloch 1999/2000
101-6     Knobloch 2000c
101-7     Isbell and Cook 1987:30-31 ;    Knobloch 2000b:Fig.10a
101-8     Knobloch 1988-2002:Hearst 4-9601;    O'Neale and Kroeber 1930:Pl.14b,c ;    Spielvogel 1955:Plate XLIII, photo 3
101-9     Benavides 1983:Lam.XXIc
101-10     Bankes 1977:171
101-11     Anton and Dockstader 1968:Fig.206
101-12     Brooklyn Museum of Fine Arts (53.147) 1961:Fig.286
101-13     Lumbreras 1960:Lam.8E
101-14     Lavalle 1991:171
101-14     Spielvogel 1955:Plate CII, photo 4
101-15     Milwaukee Public Museum 2003
101-16     Knobloch 2009
101-17     Giersz, et al 2014:138-139 Figure on a reed boat
101-18     Angeles y Pozzi-Escot 2001:Fig.9A-9B
1. Posture Elements 2. Accessory Elements
1.4.02 Tearband
    1.4.02.01 X filler element
2.1.11 4-cornered hat with split face and stepped fret with hook
2.2.03 Tunic: diagonally split pattern of face and stepped fret with hook
      See also:     100
2.2.04 Tunic: horizontally split pattern of feline with contrasting symmetrical colors
2.4.01 Earspool
      See also: 102     103     107     108     112     117     123     124     129
2.5.01 Axe
      See also:     105
2.5.03 Shield
      See also: 104     110     112
2.5.08 Mirror
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AGENT: 102
This agent is one the earliest Wari depictions found in the 1977 Huari excavation dating back to Middle Horizon Epoch 1. Early effigy jars are simple face-neck vessels with round body. The facial features include black hair, black sideburns, chevron headband and rectangular motifs on the cheeks that are similar to motifs painted on the interior of open bowls in the Ocros and Chakipampa style pottery. Such rectangular motifs may indicate ethnic identity and be precursors to Inca style tocapu squares used to designate known populations in the Inca Empire as often depicted by textiles. Acknowledged by Wari, Conchopata and Pachacamac artisans, this agent is typically associated with stylized images of profile deities, staff gods and abstract geometrical motifs. I argue that this individual participated in the development of the new religious cult in its early proselytizing phase as it spread between these distant areas. Even though evidence suggests many generations of social interaction between central highland Huarpa and south coast Nasca populations, this individual does not appear on pottery from the south coast (yet). Therefore, it's sudden appearance on an Epoch 1B/2 textile may also indicate a subjugation of the relationship the highland populations had with the south coast thereby eliminating south coast economic or political benefits in the early development of Wari. (see Hearst 4-4556)
MAP not yet available
REFERENCES:
102-1     Hearst Museum 2002:4-4556 ;    Uhle 1913:Fig.4 ;    Menzel 1977:Fig.130 ;    Knobloch 1989:Fig.15 ;    Kaulicke 1998:262
102-2     Knobloch 1999/2000
102-3     Knobloch 1977 ;    Knobloch 1983:Plate 59b, a, c
102-4     González Carré 1977:p.5 ;    Isbell and Cook 1987:32, upper left ;    Isbell 2000:Fig.13
102-5     Knobloch 1985
102-5     Knobloch 1985
102-6     Knobloch 1979
102-7     Bennett 1953:Fig.21Q
102-8     Cologne 1959:Fig.71
102-9     Spielvogel 1955:Pl.101, photo 1
102-10     Isbell and Cook 2002:Fig.9.18
102-11     Isbell and Cook 2002:Fig.9.19
1. Posture Elements 2. Accessory Elements
1.4.03 Pendent rectangle
1.5.01 Band on ridge of nose
1.9.01 Sideburns
2.1.02 Cap with headbands (probably represent
    strips of textile wrapped around head)
    2.1.02.03 chevron band
2.4.01 Earspool
      See also: 101     103     107     108     112     117     123     124     129
2.5.09 Panpipe
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AGENT: 103
This agent is usually associated with other agents (Agent 108 or 117) at central and south central coast proveniences. His appearance as a prisoner with a captive Agent 141 on a lyre cup excavated at Huari suggests that he was perhaps an enemy or dissident to Wari politics. He also occurs on the large Conchopata urns with several other agents (108, 109,123,124,125) who are depicted with their tongues hanging out and most likely indicating strangulation. (On the front of Agent 112 is a bodiless head with its tongue hanging out suggesting a trophy head - See Ochatoma and Cabrera 2002:Fig.8.11B). His involvement in Wari political history is also documented on the Ica tapestry showing his allegiance to Agent 100 along with Agents 102, 103 and 106. (see Hearst 4-4556) The most recent discovery of a Wari site at Espíritu Pampa by archaeologist, Javier Fonseca, provides the richest evidence of this agent's (or agents') prestigious role in Wari society. His depiction on Huari (103-6) and Conchopata ceramics as a captive or possibly decapitated victim may indicate that he and his people were enemies of those rulers at Huari during the initial expansion of the empire. His depictions on Epoch 2 artifacts (also from Huari 103-11, 103-12) and the presence of Epoch 2 Wari style pottery and cult related gold and silver accessories found within a burial at Espíritu Pampa would suggest a later established allegiance of these people with Wari leadership. Beside two vessels that depict this agent, thousands of sequins or small, round silver discs were found in the burial - each with two pin holes for sewing onto a textile. Thus the "Señor de Vilcabamba" (also as Señor Wari) may have worn a poncho similar in depiction of Agent 103 with the multiple squares and two tiny dots in each square.
MAP
REFERENCES:
103-1     Hearst Museum 2002:4-4556 ;    Uhle 1913:Fig.4 ;    Menzel 1977:Fig.130 ;    Knobloch 1989:Fig.15 ;    Kaulicke 1998:262 (tapestry)
103-2     Menzel 1968:Fig.46 (vertical sided dish)
103-3     Anton and Dockstader 1979:Fig.211 (flask)
103-4     Knobloch 1985:VA49191 (tumbler from Pachacamac with Agent 117)
103-5     Knobloch 1988:4-7700 (textile from Chimu Capac with Agent 108)
103-6     Knobloch 1999/2000 (photo of lyre cup);     drawing of lyre cup based on photo (Knobloch 1999/2000) and drawing by Pérez Calderón (1999:75).
103-7     Kaulicke and Isbell 2001:cover (oversized urns)     Knobloch 1999
103-8     Castillo 2000:Fig.14, second row, right; Fig.15 bottom, left from San Jose de Moro with Agent 117 (lyre cup/vertical sided cup)
103-9     Larco Hoyle 1966:Fig.88 (Epoch 2 Atarco double-chambered bottle)
103-10     Cusco exhibit of "Señor de Wari" "Señor Wari" or "Señor de Vilcabamba" (two flasks)
103-11     Yale Peabody Museum of Natural History (ANT.211838), Yale University. Bennett Collection from Wari. (sherd)
103-12     Yale Peabody Museum of Natural History (ANT.212446), Yale University. Bennett Collection from Wari.(sherd)
103-13     Museum of Fine Arts, tapestry panel 1996.50;     MFA tapestry panel 1996.50 on WWW website
103-14     Knobloch 1985:VA50915 Staatliche Museen zu Berlin, Ethnologisches Museo, Museen Dahlem (single spout, effigy bottle)
103-15     Museo Larco, Catálogo en Línea, ML035565 (lyre cup)
103-16     Museo Larco, Catálogo en Línea, ML010484 (lyre cup)
103-17     Museo Chileno de Arte Precolombino - MCHAP 0299 (doublespout bottle)
103-18     Knobloch 1985:VA49138 Staatliche Museen zu Berlin, Ethnologisches Museo, Museen Dahlem (diverging straight sided bowl)
103-19     Knobloch 2010:204, Fig. 13 Museo Nacional de Arqueología, Antropología e Historia del Perú, Lima (lyre cup with Agent 117)
1. Posture Elements 2. Accessory Elements
1.1.01 Divided into 2 design fields
      See also:     100
2.1.02 Cap with headbands (probably represent
strips of textile wrapped around head)
    2.1.02.04 platelet band
2.4.01 Earspool
      See also: 101     102     107     108     112     117     123     124     129
2.5.05 Rope around prisoner's wrists
      See also:     104     106
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AGENT: 104
This agent's distinctive headdress may have evolved from the rayed face common in Nasca iconography. Though common on central and south coast artifacts, his absence on Wari artifacts suggests a well documented non-Wari ethnic group. He appears as a victim of the wrath of a Wari Profile Deity - of which there are many - (104-3) and on a number of examples as a warrior. His absence in the Huari area suggests that this Agent was in direct conflict with Wari politico-religious intrusion in to the coastal areas rather than as a counter-offensive antagonist attacking the Wari in the Ayacucho area.
MAP
REFERENCES:
104-1     Harcourt 1924:42, top right
104-2     Boston Museum of Fine Arts (Brooklyn Museum 53.147) 1961:Fig.286 ;   Knobloch 2010:Fig.19
104-3     Lapiner 1976:Fig.580, 581
104-4     Stuhr 2008: Fig. 63     Clados (accessed 2016):Tocapu.org PicID000567
104-5     Lumbreras 2000:21;     Isbell 2000b:frontispiece ;   Knobloch 2011:Fig.14
104-6     Bergh 1999:Fig.86, bottom;     Knobloch 2010:209, Fig.21 (partially on far right edge; incorrect image was published)
104-7     Schindler 2000:162, Fig - N.M. 014
104-8     Knobloch 2010:207, Fig.17, first captive agent in from top left corner ;    Closeup
1. Posture Elements 2. Accessory Elements
1.3.04 Outlined
    1.3.04.03 segmented band with hook on cheek
2.1.03 Cap with rayed sunface (probably an embossed metal, stick pin)
2.2.02 Tunic: tie-dyed into contrasting circles
      See also:     100     129
2.5.03 Shield
      See also: 101     110     112
2.5.05 Rope around prisoner's wrists
      See also:     103     106
2.5.10 Whistle
      See also:     107
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AGENT: 105
Another coastal based Agent with possible ancestry among the Nasca where there are pottery images of warriors holding trophy heads with similar headdresses. In association with Agent 104 and 107, this agent appears to be more commanding or wielding power over 104 and 107 (see Zuidema 1972 for analysis). With axe, bow and arrow, he appears to be a powerful warrior to the point of being given supernatural traits in example 105-3 of split eyes and gaping animal mouth. He is also absent in Huari area artifacts and probably did battle closer to home on the south coast.
MAP
REFERENCES:
105-1     Spielvogel 1955:Plate XCIII, photo 3
105-2 (copy 1)     Anton 1962:Fig.107
105-2 (copy 2)     Flagel 1929:Planche I ;    Kelemen 1946:Pl.164a
105-2 (copy 3)     Zuidema 1972:Fig.2,3 ;    Salazar Bondy 1964:32 (back only) ;    Lumbreras 1990:204
105-2 (copy 4)     Larco Hoyle 1966:Fig.106
105-3     Museo Chileno de Arte Precolombino - MCHAP 0470 (effigy jar);     Lavalle 1984:145 ;    Lumbreras 1974:Fig.166 ;    Lumbreras 1990:218
105-4     Ubbelohde-Doering 1927:Abb.10,11 ;    Spielvogel 1955:Plate XCVIII, photo 3
105-5     Tello 1942:Lam.XVI, lower right ;    Spielvogel 1955:Plate XCVIII, photo 2
105-6     Lapiner 1976:540, Fig.539.
105-7 (Nasca antecedent)     Lapiner 1976:205, Fig.487 (5th vessel).
105-8 (Nasca antecedent)     Lumbreras 1974:130, Fig.138, lower right effigy vessel
1. Posture Elements 2. Accessory Elements
1.3.01 Pupils: divided, cross-eyed (Rare)
      See also:     109 rare
1.3.04 Outlined
    1.3.04.01 band
      See also:     107
1.4.04 Stepped fret with hook at corners of mouth
2.1.04 Cap with blunt horns
2.2.05 Tunic: diagonlly split pattern of faces
2.2.06 Tunic: feline head filler elements
2.4.02 Noseplug
      See also:     106     129
2.4.06 Necklace
      See also:     109
2.5.01 Axe
      See also:     101
2.5.02 Bow and arrows
      See also:     100
2.5.04 Trophy Head
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AGENT: 106
Wearing animal headdresses is usually reserved for those participating in spiritual guidance or shamanistic ritual. Thus, the occurrence of this Agent in any association with other agents may strengthen an argument that associated images are of individuals rather than groups. The depiction of this individual on the Ica textile within a row of individuals may document a social status equivalent to the others depicted in that row. (see Hearst 4-4556) Though there are Moche images of individuals with "fox" headdresses, further evidence is needed to find any direct ties between such occurrences. Another agent wears a distinctive feline headdress and holds two objects as displayed by miniature figurine - see Agent 374-1.
MAP not yet available
REFERENCES:
106-1     Hearst Museum 2002:4-4556 ;    Uhle 1913:Fig.4 ;    Menzel 1977:Fig.130 ;    Knobloch 1989:Fig.15 ;    Kaulicke 1998:262
106-2     Andre Emerich Gallery 1966:Fig.6
106-3     Kroeber 1998:Fig.173
106-4     Lavalle 1984:159
106-5     Reassigned as Agent 374-1
1. Posture Elements 2. Accessory Elements
2.1.05 Animal head and pelt (probably feline)
2.2.01 Naked (as in the case of a prisoner)
2.4.02 Noseplug
      See also:     105     129
2.5.05 Rope around prisoner's wrists
      See also:     103     104
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AGENT: 107
Analysis thus far places this Agent into the south coast area.
MAP not yet available
REFERENCES:
107-1 (copy 1)     Anton 1962:Fig.107
107-1 (copy 2)     Flagel 1929:Planche I ;    Kelemen 1946:Pl.164a
107-1 (copy 3)     Zuidema 1972:Fig.2,3 ;    Salazar Bondy 1964:32 (back only) ;    Lumbreras 1990:204
107-1 (copy 4)     Larco Hoyle 1966:Fig.106
107-2     O'Neale and Kroeber 1930:Pl.14a
107-3     Anton 1962:Fig.141
107-4     Watanabe 2001:Fig.8
1. Posture Elements 2. Accessory Elements
1.3.04 Outlined
    1.3.04.01 band
      See also:     105
1.4.05 Tipped points at corners of mouth 2.1.02 Cap with headbands (probably represent
strips of textile wrapped around head)
    2.1.02.17 band of diamond pattern
      See also:     107
2.1.02 Cap with headbands (probably represent
strips of textile wrapped around head)
    2.1.02.17 band of diamond pattern
      See also:     100
2.4.01 Earspool
      See also: 101     102     103     108     112     117     123     124     129
2.5.06 Staff
2.5.10 Whistle
      See also:     104
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AGENT: 108
Displayed with other bodiless, profile heads on large urns from Conchopata in Ayacucho, Peru. Analysis suggests a Huari origin for this agent. On the textile illustrated by Lavalle (1989: cover) he occurs with Agent 100 (whose head image sits atop the stylized image of the hallucinogenic plant Anadenanthera colubrina. His head sits atop another stylized image, possibly another hallucinogenic plant.) On the Ica tapestry he is positioned in opposition with Agent 100, (see Hearst 4-4556)
MAP
REFERENCES:
108-1     Hearst Museum 2002:4-4556 ;    Uhle 1913:Fig.4 ;    Menzel 1977:Fig.130 ;    Knobloch 1989:Fig.15 ;    Kaulicke 1998:262
108-2     Knobloch 1988:4-7700
108-3     Kaulicke and Isbell 2001:cover     Knobloch 1999
108-4     Lavalle 1989:cover ;    Reid 1986:Plate 33
1. Posture Elements 2. Accessory Elements
1.1.01 Divided into 2 design fields
    1.1.01.01 by horizontal dentate line
2.1.02 Cap with headbands (probably represent
    strips of textile wrapped around head)
    2.1.02.01 plain band
2.4.01 Earspool
      See also: 101     102     103     107     112     117     123     124     129
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AGENT: 109
Displayed with other bodiless, profile heads on large urns from Conchopata in Ayacucho, Peru. Distinctively different from any other Agent, the broad distribution from Huari to Ancón suggests Moche associations. A similar example of this agent occurs on a later Moche blackware effigy jar (Moche, Site A) housed at the Hearst Museum. The consistency of design depiction occurring in such diverse locales suggests that he had the role of an itinerate shaman or "curandero" similar to such a role as suggested by the Niño Korin findings of Wassén (1972). He was also depicted on head jars at San José de Moro - funeral house M-U1045 - associated with numerous Cajamarca style pottery. Perhaps Agent 109 was a elite leader from Cajamarca which may explain why he is so distinctly different when associated with such a distinctly different pottery both with similar spatial and temporal distributions within the Wari Empire. (Programa Arqueológico San José de Moro, Temporada 2004:81 )
MAP
REFERENCES:
109-1     Hearst 2002:4-6033     Menzel 1977:Fig.107     Bruhns 1994:Fig.14.12
109-2     Emmerich 1971:Fig.53
109-3     Cook 1985:Fig.24a
109-4     Kaulicke and Isbell 2001:cover     Knobloch 1999
109-5     Hearst 2002:4-2564b     Provenience: Moche, Site A
109-6     San Jose de Moro
109-7     Knobloch 2012:Fig.111
109-8     Museo Chileno de Arte Precolombino - MCHAP 0545 (doublespout bottle)
1. Posture Elements 2. Accessory Elements
1.3.01 Pupils: divided, cross-eyed (Rare)
      See also:     105 (rare)
1.8.01 Pierced (multiple times; not just for an earspool)
2.1.01 Plain cap
      See also:     115
2.4.03 Nosering
2.4.04 Labret (in lower lip/chin area)
2.4.05 Earring loops (possibly stretched ear lobes)
2.4.06 Necklace
      See also:     105
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AGENT: 110
Holding up a shield-like plaque with the line drawing of the Staff God and a possible whistle or horn in the other hand, this agent may have carried out a harbinger role. The tunic is rather simple with designs similar to Tiwanaku patterns (see Knobloch 2000a for analysis). This vessel (110-1) was recovered from exposed fill within a walled structure protruding from the sides of the mesa just below the Capilla Pata structure at Huari.
MAP not yet available
REFERENCES:
110-1     Knobloch 1974 ;    Knobloch 2001:Fig.11b
110-2     Wagner 1981:Fig.A11A
110-3     Knobloch 2009
110-4     Knobloch 2010:207, Fig.17, fourth captive agent in bottom right corner ;    Closeup
1. Posture Elements 2. Accessory Elements
1.3.04 Outlined
    1.3.04.04 triangular points with hook on cheek
2.1.07 Cap with brim
      See also:     127
2.2.07 Tunic: diagonal split pattern of stepped frets
2.5.03 Shield
      See also: 101     104     112
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AGENT: 111
Found only at Azangaro.
MAP
REFERENCES:
111-1     Anders 1986:Fig.7.53a
1. Posture Elements 2. Accessory Elements
2.1.02 Cap with headbands (probably represent
strips of textile wrapped around head)
    2.1.02.06 zigzag and filler dot band
      See also:     117     118
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AGENT: 112
Another warrior agent found on Conchopata pottery with associated trophy head, axe and shield. His tunic appears to be like a feline pelt pattern. The Ica textile example may also represent this agent and is associated on the half with Agent 100 in opposition to Agent 101. The Conchopata example may also be a vessel with both Agent 101-4 and this agent in opposition stances. (see Hearst 4-4556)
MAP not yet available
REFERENCES:
112-1     Hearst Museum 2002:4-4556 ;    Uhle 1913:Fig.4 ;    Menzel 1977:Fig.130 ;    Knobloch 1989:Fig.15 ;    Kaulicke 1998:262
112-2     Ochatoma and Cabrera 2002:Fig.8.11B
1. Posture Elements 2. Accessory Elements
1.4.06 Chevron filler elements 2.1.02 Cap with headbands (probably represent
strips of textile wrapped around head)
    2.1.02.07 double points (possibly representing horns)
2.2.08 Tunic: animal pelt pattern (e.g., feline pelt)
2.5.03 Shield
      See also: 101     104     110
2.4.01 Earspool
      See also: 101     102     103     107     108     117     123     124     129
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AGENT: 113
Found only at Azangaro.
MAP
REFERENCES:
113-1     Anders 1986:Fig.7.54c
1. Posture Elements 2. Accessory Elements
1.4.01 Tearlines (horizontal lines drawn from lower eyelid onto cheek)
      See also:     114
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AGENT: 114
Many examples at the site of Huari whereas only one found at Azangaro.
MAP
REFERENCES:
114-1     Anders 1986:Fig.7.55d
114-2+     Yale Peabody Museum, Bennett Collection Other sherds found at Huari: (Pit/level) 2 Surf, 2A, 2P, 8E, 8H, 9B, 11F, 13A, 13C, 15 Gen, 15C, 15F
1. Posture Elements 2. Accessory Elements
1.4.01 Tearlines (horizontal lines drawn from lower eyelid onto cheek)
      See also:     113
2.1.02 Cap with headbands (probably represent
strips of textile wrapped around head)
    2.1.02.08 cross-hatching band
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AGENT: 115
Example 115-1 was found at Azangaro. Two complete modeled vessels (115-2) are housed at the Dallas Museum of Art (1976.W.216, 1976.W.217). On these vessels Agent 115 displays possible female attributes of breasts and vagina. The vessels are decorated with humpbacked animals, the ventral animal and birds. The author identified these jars as Viñaque because of a matching sherd excavated at Huari By Christina Brewster-Wray (1990) (see Cook 1994:Lám.35a - image was published upside-down).
MAP
REFERENCES:
115-1     Anders 1986:Fig.7.57a
115-2     Knobloch 2012:Fig.120
115-3     Cook 1994:Lam.35a
115-4     Cook 1994:Lam.35a
115-5     Knobloch 2015:Ministerio de Cultura
1. Posture Elements 2. Accessory Elements
1.7.02 Bands of interlocking fret design along jaw line 2.1.01 Plain cap
      See also:     109
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AGENT: 116
Found only at Azangaro.
MAP
REFERENCES:
116-1     Anders 1986:Fig.7.53 (not lettered)
1. Posture Elements 2. Accessory Elements
1.4.07 Pendent zigzag on cheek
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AGENT: 117
The tumbler (117-1) and dish/open bowl (117-2) are vessels that display Agent 117 in association with Agent 103 as depicted by Pachacamac artisans. They are also associated on a lyre cup (possibly, though drawing suggests a straight sided cup from partial reconstruction of sherds) from San Jose de Moro (117-3) and three lyre cups that do not have definitive proveniences though it is suggested that 117-5 and 117-6 are from the south coast, most likely the Nasca region. Due to this common association of Agents 103 and 117, it is possible that the vertical-sided dish from Huancayo (103-2) may also have depicted Agent 117. One sherd (117-7) is from the surface of Huari, collected by Wendell Bennett, an expected location given the associations with Agent 103.
MAP
REFERENCES:
117-1     Knobloch 1985:VA49191 (tumbler)
117-2     Knobloch 1985:VA49138 (dish/open bowl)
117-3     Castillo 2000:Fig.14, second row, right; Fig.15 bottom, left (lyre cup/vertical sided cup)
117-4     Knobloch 2010:204, Fig.13 (lyre cup)
117-5     Banco de Crédito del Perú 1984:128, bottom figure;     Museo Larco (ML010484) (lyre cup)
117-6     Museo Larco (ML035565) (lyre cup)
117-7     Spielvogel 1955: Pl.44, fig. 2
1. Posture Elements 2. Accessory Elements
1.7.03 Bands of hooks along jaw line 2.1.02 Cap with headbands (probably represent
strips of textile wrapped around head)
    2.1.02.06 zigzag and filler dot band
      See also:     111     118
    2.1.02.09 checkered band
      See also:     131
2.4.01 Earspool
      See also: 101     102     103     107     108     112     123     124     129
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AGENT: 118
Only found on urn from Conchopata. May be related to Agent 117 with similar headband and lower chin/jaw painting or tattooing.
MAP not yet available
REFERENCES:
118-1     Isbell and Cook 2002:Fig.9.13     Knobloch 1999
1. Posture Elements 2. Accessory Elements
1.7.04 Bands of zigzag and dots along jaw line 2.1.02 Cap with headbands (probably represent
strips of textile wrapped around head)
    2.1.02.06 zigzag and filler dot band
      See also:     111     117
    2.1.02.10 feathered top pattern
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AGENT: 119
Found only at Azangaro.
MAP
REFERENCES:
119-1     Anders 1986:Fig.7.54a
1. Posture Elements 2. Accessory Elements
1.3.04 Outlined
    1.3.04.02 band and hook     129
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AGENT: 120
Found only at Azangaro.
MAP
REFERENCES:
120-1     Anders 1986:Fig.7.55j
1. Posture Elements 2. Accessory Elements
1.4.08 Pendent tufts on cheek
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AGENT: 121

MAP not yet available
REFERENCES:
121-1     Knobloch 1977 (field slides)
1. Posture Elements 2. Accessory Elements
2.1.02 Cap with headbands (probably represent
strips of textile wrapped around head)
    2.1.02.11 doubled ray design band
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AGENT: 122
Found on large jar shaped vessel at Conchopata.
MAP not yet available
REFERENCES:
122-1     Knobloch 1999 (field slides)
1. Posture Elements 2. Accessory Elements
1.1.02 Divided into quadrant design fields 2.1.02 Cap with headbands (probably represent
strips of textile wrapped around head)
    2.1.02.12 band of horizontal S's edged with black and white zigzag bands
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AGENT: 123
Displayed on large urns from Conchopata with several bodiless agent heads. Though few, this agent has a distinctive stepped pattern that runs diagonally across the cheek dividing the face into two contrasting colored fields.
MAP not yet available
REFERENCES:
123-1     Isbell 2000:Fig.16, left;     Isbell and Cook 2002:Fig.9.13     Knobloch 1999
1. Posture Elements 2. Accessory Elements
1.1.01 Divided into 2 design fields
    1.1.01.01 by diagonal dentate line
2.1.02 Cap with headbands (probably represent
strips of textile wrapped around head)
    2.1.02.13 band of dots
2.4.01 Earspool
      See also: 101     102     103     107     108     112     117     124     129
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AGENT: 124
Displayed with other bodiless, profile heads on large urns from Conchopata in Ayacucho, Peru.
MAP not yet available
REFERENCES:
124-1     Kaulicke and Isbell 2001:cover     Knobloch 1999 (field slide)
124-2 (copy)     Isbell 2000:Fig.16, right
1. Posture Elements 2. Accessory Elements
2.1.08 knotted scarf in pelt pattern with headband of horizontal S's
2.4.01 Earspool
      See also: 101     102     103     107     108     112     117     123     129
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AGENT: 125
Displayed with other bodiless, profile heads on large urns from Conchopata in Ayacucho, Peru.
MAP not yet available
REFERENCES:
125-1     Kaulicke and Isbell 2001:cover     Knobloch 1999
125-2     Isbell 2000:Fig.16, middle
1. Posture Elements 2. Accessory Elements
2.1.09 tall round hat with rows of hooks and stepped frets
BACK TO TOP
AGENT: 126
Large face neck jar from Conchopata in Ayacucho, Peru.
MAP not yet available
REFERENCES:
126-1     Isbell 2000:Fig.21D     posted image
126-2     Isbell and Cook 2002:Fig.9.17
1. Posture Elements 2. Accessory Elements
2.1.02 Cap with headbands (probably represent
strips of textile wrapped around head)
    2.1.02.15 band of circles
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AGENT: 127
This agent's distinguishing attribute is the double dart motif on the cheeks. He also wears a hat with a rimband of white diamonds or dots. The double chambered vessel in 127-1 depicts small, fine-line double-headed serpent motifs. The Wendell Bennett collection at Yale Peabody Museum of Anthropology houses one sherd from his excavations at Huari that replicates this motif. (127-4) (see Bennett 1953:Pl.9N).
MAP not yet available
Under Construction
REFERENCES:
127-1     Lapiner 1976:249, Fig.576
127-2     Menzel 1968:Fig.48
127-3     Bawden and Conrad 1982:79, lower left figure
127-4     Yale PM Bennett Collection
1. Posture Elements 2. Accessory Elements

      See also:    
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AGENT: 128
There are many images of Wari individuals with elaborate tear/cheek motifs; thus this individual probably represents a highland ethnicity. (see Hearst 4-4556)
MAP not yet available
REFERENCES:
128-1     Hearst Museum 2002:4-4556 ;    Uhle 1913:Fig.4 ;    Menzel 1977:Fig.130 ;    Knobloch 1989:Fig.15 ;    Kaulicke 1998:262
1. Posture Elements 2. Accessory Elements
1.4.02 Tearband
    1.4.02.02 double band ending in tufts
2.1.02 Cap with headbands (probably represent
    strips of textile wrapped around head)
    2.1.02.16 wavy horizontal line with dots
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AGENT: 129
Circlets in headdress appear to be sewn discs to a wrapped headdress. The top tuft of the vessel's rim may indicate feathers. This individual can also have a noseplug and wide tearbands on cheeks. (see Hearst 4-4556)
MAP not yet available
REFERENCES:
129-1     Hearst Museum 2002:4-4556 ;    Uhle 1913:Fig.4 ;    Menzel 1977:Fig.130 ;    Knobloch 1989:Fig.15 ;    Kaulicke 1998:262
129-2     Uhle 1935:Fig.19
129-3     Lapiner 1976:Fig.546
129-4     Watanabe 2001:Fig.9
1. Posture Elements 2. Accessory Elements
1.3.04 Outlined
    1.3.04.02 band and hook     119
2.1.02 Cap with headbands (probably represent
strips of textile wrapped around head)
    2.1.02.14 band with multiple rows of dots
2.2.02 Tunic: tie-dyed into contrasting circles
      See also:     100     104
2.4.02 Noseplug
      See also:     105     106
2.4.01 Earspool
      See also: 101     102     103     107     108     112     117     123     124
BACK TO TOP
AGENT: 130
Most often found on Robles Moqo style face neck jars (a Wari, Epoch 1B style) from Pacheco site. Distinguished by simple banded headdress and tunic of narrow stripes. The best known example resides at the MNAAH, Lima (C-63067).
Regarding 130-6: "One spectacular effigy jar depicts a Wari figure whose elite status is apparent not so much in his simple, striped tunic as in the beautifully depicted black jaguar pelt hanging from his hat (see fig. 134). Jaguar habitation once included all of South America, except the western coast and southernmost regions. Black jaguars are a rare, morphed peculiarity; they represent only 6 percent of today's jaguar population. ftnt.34 Thus, this Wari personage may be someone of great distinction" (Knobloch 2012:129).
MAP not yet available
REFERENCES:
130-1     Menzel 1977:Fig.129
130-2     Mazzoleni 1974: Fig.101
130-3     Ubbelohde-Doering 1927:Abb.1 ;    Spielvogel 1955:Pl.100, photo 2
130-4     Ubbelohde-Doering 1927:Abb.7,8
130-5     Knobloch 2000c
130-6     Glowacki 2013: Fig.134 (MNAAH vessel)
130-7     Cook 1994:Lam.20, d-f
1. Posture Elements 2. Accessory Elements
2.1.02 Cap with headbands (probably represent
strips of textile wrapped around head)
    2.1.02.02 multiple plain bands
2.2.09 Tunic: vertical stripes
      See also:     131
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AGENT: 131
Originally published in Uhle (1910 Acerca de los culturas tempranas de Lima y usus alrededores, p.245, fig.11 middle) as found at the site of Nievería, Lima Valley.
MAP not yet available
REFERENCES:
131-1     Lumbreras 1974b:Fig.90 ;    Stierlin 1984:Fig.136
1. Posture Elements 2. Accessory Elements
2.1.02 Cap with headbands (probably represent
strips of textile wrapped around head)
    2.1.02.09 checkered band
      See also:     117
2.2.09 Tunic: vertical stripes
      See also:     130
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AGENT: 132
On an exquisitely detailed jar, Agents 100, 132 and 137 are depicted with various cultivars. This association suggests control of cultivation. These agents may have overseen the planting and harvesting of the plants. Several plants occur at distinct elevations or environmental niches such as yuca, maize and potatoes. The agents may represent diverse communities whose association with the cultivars suggests economic cooperation among distinct groups thereby supporting a Wari political system. The depiction of yuca (manioc) is particularly curious in that its area of cultivation would be in the eastern slopes of the Andes. However Isbell (1977:10) and Anders (1986:56) mention the trade routes from Jargampata and Azangaro, respectively, into the ceja de selva region that probably existed during Middle Horizon. The identification of the oca and tuna are based on similar observations by Yacovleff and Herrera (1934:308, 321, respectively). Another indication that this agent may have distant trade associations is his depiction on pottery from the Pariti Island of southern Lake Titicaca (132-3). At some point in the history of this agent's relationship with the Wari authorities there apparently was a conflict that led to his captive status as depicted on the Conchopata oversized urns (132-4) excavated by Julio Tello in 1942. The narrative may have captured an event of political coercion and subjugation of Amazonian people by means of religious indoctrination. During excavations at Huari conducted by Christina Brewster-Wray (1990:669), another image of this agent was found on a double-handled "retrato" bowl (132-5).
MAP not yet available
Agent 132
REFERENCES:
132-1     Knobloch 2000c
132-2     Ochatoma and Cabrera 2002:Fig.8.9D
132-3     Korpisaari and Parssinen 2005:Fig.6;    Sagárnaga 2007:Cover
132-4     Knobloch 2009
132-5     Brewster-Wray 1990:669 - drawing;    Cook 1994: Lam 23f - photo
BACK TO TOP
AGENT: 133
The face neck area of an exquisitely made effigy jar excavated at Huari during William H.Isbell's Huari Urban Prehistory Project, 1979.
MAP not yet available
Agent 133
REFERENCES:
133-1     Knobloch 1979
BACK TO TOP
AGENT: 134
Another version of the four-cornered hat of step-fret tocapus with headband of diamond shapes (see Agent 100, 127). Cheeks have tearbands as appended rays ending in profile feline heads.
MAP not yet available
Under Construction
REFERENCES:
134-1     Knobloch 1999/2000
134-2     Cook 1985: 281, Fig.25
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AGENT: 135
This image occurred on a ovoid canteen shaped vessel that lacks a head. The body is wearing an elaborate tunic of vertical panels with profile griffins. As with Agent 100 at Conchopata, the agent appears to be standing on a reed boat.
MAP not yet available
Under Construction
REFERENCES:
135-1     Knobloch 1999/2000
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AGENT: 136
This agent does not display many elite articles of clothing except for a large necklace. The agent may at first appear feminine but most Wari representations of women show a part in the middle of the bangs (this author's observation). Other agent images with little or no elaborate facial or head decoration and similar straight bangs can be male.
MAP not yet available
Agent 136
REFERENCES:
136-1     Knobloch 1983
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AGENT: 137
One of three agents (see 101, 132) depicted on small jar as front facing heads above various plants.
MAP not yet available
Agent 137
REFERENCES:
137-1     Ochatoma y Pérez 1998:back cover ;    Knobloch 2000c
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AGENT: 138
Reassigned to Agent 373.
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AGENT: 139
Associated with Agent 103 on Boston MFA textile (139-1) and represented by a small effigy jar (139-2)(Linden Museum, Stuttgart, Germany). Characterized by a simple headdress with a short round top section above a narrow pointed headband that extends out like a hat brim to encircle the head. The jar's 3-D version indicates that the headband is not evenly wide, but rather undulates forming four lobes extending out from the corners (not a four-cornered hat). Both images hold a staff in their right hand though unfortunately the figurine's staff is missing the top section above the hand. Another shared trait is the hem or leggings below a tunic that is a band of fine black interlocking lines on a white background.
MAP not yet available
REFERENCES:
139-1     Museum of Fine Arts, tapestry panel 1996.50;     MFA tapestry panel 1996.50 on WWW website
139-2     Anton 1962:Fig.109;    Knobloch 2012:137, Fig.118
BACK TO TOP
AGENT: 140
A captive held at the top of the head by the belted and beltless Staff Gods on Conchopata style urns as found by Julio Tello in 1942. As depicted in the narrative band of 140-1, this captive is one of three captives (Agents 110 and 132) associated with an alternating pattern of belted Staff God and Profile Deity. The layouts do not represent a 'central deity theme' as carved into Tiwanaku's Gateway of the Sun. This captive is similar to Agent 150 held by the beltless Staff God as found on the 1999 excavated Conchopata urn fragment (see below). The black cap has a purple headband of yellow diamonds and red dots and two feathers appended to the back by a red and yellow medallion. His belt is a white band with red +'s, dots and triangles. This belt is similar to those worn by the other captives (Agents 110 and 132) on this urn. He wears a black wrap-around loincloth with a red and white striped hem. His accessories include earspools, necklace and anklets. A white band facial marking was determined by fragments not included in the drawing. The band begins on the forehead and continues from eye to cheek with a short square extension on the ear side.
MAP not yet available
Agent 140
REFERENCES:
140-1     Knobloch 2009
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AGENT: 141
Defined more by clothing than face at this time and may include more than one singular agent. The tunic is a black on white textile covered in step-fret motifs that include the step and curved hook. The face is divided into two or four quadrants of black and red areas. The hat appears to be a simple cap primarily with horizontal bands or a band of horizontal and circular elements. The hair is pulled back showing earspools. Ismael Pérez excavated at Huari and found example 141-1 on a lyre cup as a captive with Agent 103. The other vessels belong to the Atarco style.
MAP not yet available
Under Construction
REFERENCES:
141-1     Knobloch 1999/2000 (photo of lyre cup);     drawing of lyre cup based on photo (Knobloch 1999/2000) and drawing by Pérez Calderón (1999:75).
141-2     Lavalle 1984:141
141-3     Katz 1972:Fig.55
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AGENT: 142
Decapitated profile head on Tello's Conchopata style urns located at the bottom of a staff held by a Profile Deity facing towards a beltless Staff God. The decapitation is detailed with a short column of vertibrae descending below the head. The square cap has a checkered square of four quandrants. The face has distinctive mouth markings as points that extend from the corners of the mouth onto the cheek. This design element is similar to mouth markings on Agent 107.
MAP not yet available
Under Construction
REFERENCES:
142-1     Isbell and Knobloch 2009:Fig.25
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AGENT: 143
This agent displays facial hair as a small moustache and chin beard. The examples may represent more than one unique agent since not all clothing features are common or present to determine a consistent representation. One example from Huari looks remarkably modern (143-1) with a handlebar shaped moustache but then, the beard or goatee is also a handlebar shape. Spielvogel (1955:Pl.CXIV) noted the similarity of this facial characteristic with Tiwanaku retrato or "head" vessels. 143-2 illustrates this agent as a possible herder carrying an animal across the shoulders. A fragment of a duplicate vessel was found in Brewster-Wray's excavations at Huari (143-3). 143-4 is a double-spout strap handled vessel in the Nievería style displaying only the head with red cheeks and simple headband cap (recovered from construction at Huanza, Santa Eulalia - northeast of Lima).
MAP not yet available
Under Construction
REFERENCES:
143-1     Yale Peabody Museum - Bennett Collection from Huari, Pit 10E ANT212062
143-2     Kauffmann-Doig 1998(middle)
143-3     Cook 1994:Lam 23:a-c
143-4     Kaulicke 2001:328-329, Figs.7 & 9.
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AGENT: 144
Due to various types of headgear (or lack of on sherds) within this agent's imagery, the image includes only the maize teardrops as the key defining attribute. Therefore, this category may divide at a later date with more evidence. 144-1 is a combination of sherds from Bennett's exacavations at Huari. This agent apparently was quite common at that site. Lumbreras (144-4) illustrates an example of a Chakipampa style Agent 144 jar with the humped animal depicted on the body. The Harcourt example is presumed to be from Pachacamac (Spielvogel 1955:26) and wears a tunic of split-face and step-fret bands.
MAP not yet available
Under Construction
REFERENCES:
144-1+     Yale Peabody Museum, Bennett Collection includes 5 sherd examples.
144-2     Harcourt 1950: Fig. 128
144-3     Raddatz 1973: Fig.18
144-4     Lumbreras 2000:20
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AGENT: 145
The facial markings of this agent are quite distinctive and consistent. A band begins at the tip of the nose, then divides into two bands at the forehead. Each of these bands crosses the eyebrow area then angle down ending on the cheek areas with two triangular elements that point towards the mouth. The triangles are embedded with contrasting triangular elements. All examples are on faceneck jars with no appendages displayed on the vessel body. All are provenienced to Pachacamac which is very significant in determining an ethnic identity for that area. Three of the vessels (145-2,3,4) have such similarities as to suggest contemporaneity in manufacture. The headbands are a interwinding band that forms an apparent interlocking pattern. Panels on the bodies delineate fields with bands of interlocking lines and display two similar avian motifs. The 145-5 example is poorly made with a chevron headband and a double-headed feline motif. 145-1 is painted with circular filler elements that are common for Epoch 3/4 Huari styles on the coast, whereas the others date to Epoch 2.
MAP not yet available
Under Construction
REFERENCES:
145-1     Knobloch 1985:VA49635 MfV-Berlin
145-2     Bennett 1963 [1944]: Plate 39d
145-3     American Museum of Natural History - Pachacamac B-493
145-4     American Museum of Natural History - Pachacamac B-494;     Olson 1931
145-5     American Museum of Natural History - Pachacamac B-488;     Spielvogel 1955: Pl.96, Fig.2
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AGENT: 146
In spite of the many collected four-cornered hats, this particular four cornered hat design - a rim band of diamonds (due to weaving constraint they appear as angular circles in 146-1) below fret/fret motifs is shared by Agents 100, 127, and 134 yet is rarely known in any collection. One possible example is woven with no pile, with a rim band that consists of diamond shapes (O’Neale and Kroeber 1930:Plate 26), and is provenienced from the Nievería site of Vista Alegre, therefore possibly dating to Epoch 1B. Another, similar non-pile example is from the Bajo Molle site near Iquique, Chile (Moragas 1995).
MAP not yet available
Agent 146
REFERENCES:
146-1     Knobloch 2010:207, Fig.17, second captive agent in from top left corner ;    Closeup
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AGENT: 147
This agent was formerly assigned to Agent 104 category that has a similar black cowl or cap with a skull or sunface motif, but with the addition of feathers or tufts that extend from the top of the black cap. This distinction was discovered on the Captives Tunic that displays both Agents 104 and 147. The face may also have a curved band wrapped around the eye and extending into a curl on the cheek. The actual necklace in 147-5 was most likely made of rectangular spondylus shell beads with drill holes. The tunic has vertical bands alternating with either plain red or multi-colored geometric patterns. Agent 147-5’s tunic design may represent Susan Bergh’s (1999:794-823) “Profile Creature” pattern, types 3 and 4, the “Profile Bird Heads” pattern (Bergh 1999:896-901) or the “Stepped Cross” pattern (Bergh 1999:902-908). These tunics have vertical panels in various plain colors – brown, gold, orange, red – that alternate with vertical panels of multi-colored geometric patterns. The geometric patterns display a stepped-cross motif (i.e., a ‘plus sign’ shaped center surrounded by diagonal stepped-bands) within alternating quadrants of two background colors. The numerous examples found on double-handled urn-like jars (147-1) may seem similar, yet details of (copy 2) are somewhat suspect.
MAP not yet available
Agent 147
REFERENCES:
147-1 (copy 1)     Anton 1962:Fig.107
147-1 (copy 2)     Flagel 1929:Planche I ;    Kelemen 1946:Pl.164a
147-1 (copy 3)     Zuidema 1972:Fig.2,3 ;    Salazar Bondy 1964:32 (back only) ;    Lumbreras 1990:204
147-1 (copy 4)     Larco Hoyle 1966:Fig.106
147-1 (copy 5)     Knobloch 2010:206, Fig.15
147-2     Disselhoff 1967:Tafel 35 ;    Knobloch 1985:VA49647 MfV-Berlin
147-3     Knobloch 1985:VA19088b MfV-Berlin
147-4     Schmidt 1929:Tafell III, rt. ;    Knobloch 1985:VA49645 MfV-Berlin;
147-5     Knobloch 2010:207, Fig.17, second captive agent in from bottom right corner ;    Closeup
147-6     Schmidt 1929:Abb.271 ;    Willey 1949:Pl.32b;     Knobloch 1985:VA 49699 (MfV-Berlin)
147-7     Schindler 2000:147, Fig - N.M. 301 (Paramonga)
147-8     Textile Museum 1965:Fig.24
147-9     Anton 1962:Fig.118a
147-10     Bergh 2012:242-243, Fig.233 (p.243, right)
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AGENT: 148

MAP not yet available
Under Construction
REFERENCES:
###-1     Name (date)
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AGENT: 149

MAP not yet available
Under Construction
REFERENCES:
###-1     Name (date)
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AGENT: 150
Captive depicted on Conchopata style urn excavated in 1999 during the Conchopata Archaeological Project, co-directed by William H. Isbell, Anita G. Cook, José Ochatoma and Martha Cabrera. The references cited below illustrate the complete layout of all fragments of one urn on which beltless Staff Gods alternate with Profile Deities. This layout does not represent a 'central deity theme' as carved into Tiwanaku's Gateway of the Sun. The captive is held at the top of the head by beltless Staff God. Agent 150 wears a cap with pelt-like elements, perhaps jaguar, and feathers appended to the back by a red and yellow medallion. His belt is patterned with three squares, each divided into two triangles of alternating grey and red colors. He wears a purple wrap-around loincloth with white hem. His accessories include earspools, grey necklace and anklets. On the side of the face is a gray band that begins on the forehead and continues with a center white line below the eye into a step angled band. Considering the captive status of this agent, the details are not random but were meant to distinguish the identity from all other captives depicted by the Conchopata artesans.
Agent 150's cap of pelt-like, C's and dots, is similar to Agent 124's cap though other details (feathers, folded bun, band) determine their separate identities. One or both may have an ethnic identity symbolized by the jaguar pelt tocapu painted on the interior of Epoch 2 Wari style bowls (Huamanga or also known as less fancy Viñaque styles).
MAP not yet available
Agent 150
REFERENCES:
150-1     Isbell and Knobloch 2009:Fig. 25;     Cook 2013:Fig.76a
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AGENT: 151

MAP not yet available
Under Construction
REFERENCES:
###-1     Name (date)
###-2     Name (date)
###-3     Name (date)
###-4     Name (date)
1. Posture Elements 2. Accessory Elements
1. ???
      See also:     0     0
1. ???
      See also:     0     0
1. ???
      See also:     0     0
2. ???
      See also:     0     0
2. ???
      See also:     0     0
2. ???
      See also:     0     0
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AGENT: 152

MAP not yet available
Under Construction
REFERENCES:
###-1     Name (date)
###-2     Name (date)
###-3     Name (date)
###-4     Name (date)
1. Posture Elements 2. Accessory Elements
1. ???
      See also:     0     0
1. ???
      See also:     0     0
1. ???
      See also:     0     0
2. ???
      See also:     0     0
2. ???
      See also:     0     0
2. ???
      See also:     0     0

AGENT: 300
Bergh (2013:233, ftnt.6) observed this pair in the Cuzco set.
MAP not available
NO IMAGE
REFERENCES:
300-1     Valcárcel 1933:Lám. I-V A
Ht.(cm) = 3.7
Provenience: Pikillacta.
Current Location: Museo Inka (Cusco).
300-2     Valcárcel 1933:Lám.I-V E
Ht.(cm) = 2.7
Provenience: Pikillacta.
Current Location: Museo Inka (Cusco).
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AGENT: 301
Currently, no duplications.
MAP not available
NO IMAGE
REFERENCES:
301-1     Valcárcel 1933:Lám. I-V B
Ht.(cm) = 3.5
Provenience: Pikillacta.
Current Location: Museo Inka (Cusco).
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AGENT: 302
Currently, no duplications.
MAP not available
NO IMAGE
REFERENCES:
302-1     Valcárcel 1933:Lám. I-V C
Ht.(cm) = 3.0
Provenience: Pikillacta.
Current Location: Museo Inka (Cusco).
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AGENT: 303
Ramos and Blasco observed this triplet with 303-1 in Cuzco set and 303-2 and 303-3 in the Madrid set. (Bergh 2013:233)
MAP not available
IMAGE
REFERENCES:
303-1     Valcárcel 1933:Lám. I-V D; Bergh 2013:234, Fig. 224a, right
Ht.(cm) = 3.0
Provenience: Pikillacta.
Current Location: Museo Inka (Cusco).
303-2     Ramos/Blasco 1977:106-107, Lám. XIIb [Núm. 34]; Bergh 2013:234, Fig. 224a, left
Ht.(cm) = 3.2
Provenience: Pikillacta.
Current Location: Museo de América (Madrid) 8839.
303-3     Ramos/Blasco 1977:101-102, Lám. IXh [Núm. 16]
Ht.(cm) = 2.6
Provenience: Pikillacta.
Current Location: Museo de América (Madrid) 8850.
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AGENT: 304
Currently, no duplications.
MAP not available
NO IMAGE
REFERENCES:
304-1     Valcárcel 1933:Lám. I-V F
Ht.(cm) = 2.5
Provenience: Pikillacta.
Current Location: Museo Inka (Cusco).
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AGENT: 305
Ramos and Blasco observed this pair with one from each the Cuzco and Madrid .
MAP not available
IMAGE
REFERENCES:
305-1     Valcárcel 1933:Lám. I-V G
Ht.(cm) = 2.9
Provenience: Pikillacta.
Current Location: Museo Inka (Cusco).
305-2     Ramos/Blasco 1977:101, Lám. IXf [Núm. 14]
Ht.(cm) = 3.0
Provenience: Pikillacta.
Current Location: Museo de América (Madrid) 8856.
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AGENT: 306
Currently, no duplications.
MAP not available
NO IMAGE
REFERENCES:
306-1     Valcárcel 1933:Lám. I-V H
Ht.(cm) = 3.4
Provenience: Pikillacta.
Current Location: Museo Inka (Cusco).
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AGENT: 307
Ramos and Blasco observed this pair with one from each the Cuzco and Madrid .
MAP not available
IMAGE
REFERENCES:
307-1     Valcárcel 1933:Lám. I-V I
Ht.(cm) = 3.6
Provenience: Pikillacta.
Current Location: Museo Inka (Cusco).
307-2     Ramos/Blasco 1977:105, Lám. XId [Núm. 28]
Ht.(cm) = 2.7
Provenience: Pikillacta.
Current Location: Museo de América (Madrid) 8848.
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AGENT: 308
Ramos and Blasco observed this pair with one from each the Cuzco and Madrid .
MAP not available
IMAGE
REFERENCES:
308-1     Valcárcel 1933:Lám. I-V J
Ht.(cm) = 3.2
Provenience: Pikillacta.
Current Location: Museo Inka (Cusco).
308-2     Ramos/Blasco 1977:102, Lám. Xa [Núm. 17]
Ht.(cm) = 3.0
Provenience: Pikillacta.
Current Location: Museo de América (Madrid) 8838.
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AGENT: 309
Currently, no duplications.
MAP not available
NO IMAGE
REFERENCES:
309-1     Valcárcel 1933:Lám. I-V K
Ht.(cm) = 3.4
Provenience: Pikillacta.
Current Location: Museo Inka (Cusco).
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AGENT: 310
Ramos and Blasco observed this pair with one from each the Cuzco and Madrid .
MAP not available
IMAGE
REFERENCES:
310-1     Valcárcel 1933:Lám. I-V L; Bergh 2013:234, Fig. 224f, right
Ht.(cm) = 3.4
Provenience: Pikillacta.
Current Location: Museo Inka (Cusco).
310-2     Ramos/Blasco 1977:105-106, Lám. XIf [Núm. 30] ; Bergh 2013:234, Fig. 224f, left
Ht.(cm) = 2.8
Provenience: Pikillacta.
Current Location: Museo de América (Madrid) 8840.
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AGENT: 311
Ramos and Blasco observed this pair with one from each the Cuzco and Madrid .
MAP not available
NO IMAGE
REFERENCES:
311-1     Valcárcel 1933:Lám. I-V LL
Ht.(cm) = 3.3
Provenience: Pikillacta.
Current Location: Museo Inka (Cusco).
311-2     Bergh 2012: Fig. 228
Ht.(cm) = 3.5
Provenience: not known.
Current Location: Denver Art Museum 1994.45.
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AGENT: 312
Ramos and Blasco observed this pair with one from each the Cuzco and Madrid .
MAP not available
IMAGE
REFERENCES:
312-1     Valcárcel 1933:Lám. I-V M; Bergh 2013:234, Fig. 224b, right
Ht.(cm) = 4.1
Provenience: Pikillacta.
Current Location: Museo Inka (Cusco).
312-2     Ramos/Blasco 1977:97, Lám. VIIIc [Núm. 3]; Bergh 2013:234, Fig. 224b, left
Ht.(cm) = 4.8
Provenience: Pikillacta.
Current Location: Museo de América (Madrid) 8826.
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AGENT: 313
Ramos and Blasco observed this pair with one from each the Cuzco and Madrid .
MAP not available
IMAGE
REFERENCES:
313-1     Valcárcel 1933:Lám. I-V N
Ht.(cm) = 3.4
Provenience: Pikillacta.
Current Location: Museo Inka (Cusco).
313-2     Ramos/Blasco 1977:99-100, Lám. IXa [Núm. 9]
Ht.(cm) = 3.5
Provenience: Pikillacta.
Current Location: Museo de América (Madrid) 8859.
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AGENT: 314
Ramos and Blasco observed this pair with one from each the Cuzco and Madrid .
MAP not available
IMAGE
REFERENCES:
314-1     Valcárcel 1933:Lám. I-V O; Bergh 2013:234, Fig. 224g, right
Ht.(cm) = 2.8
Provenience: Pikillacta.
Current Location: Museo Inka (Cusco).
314-2     Ramos/Blasco 1977:100, Lám. IXb [Núm. 10]; Bergh 2013:234, Fig. 224g, left
Ht.(cm) = 3.3
Provenience: Pikillacta.
Current Location: Museo de América (Madrid) 8833.
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AGENT: 315

MAP not available
NO IMAGE
REFERENCES:
315-1     Valcárcel 1933:Lám. I-V O1
Ht.(cm) = 4.3
Provenience: Pikillacta.
Current Location: Museo Inka (Cusco).
315-2     Valcárcel 1933:Lám X, ll
Ht.(cm) = 3.5
Provenience: Ica.
Current Location: Museo Nacional de Arqueología, Antropología e Historia del Perú (Lima).
315-3     McEwan 2004
Ht.(cm) = n/a
Provenience: Chokepukio.
Current Location: Museo Inka (Cusco).
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AGENT: 316
Ramos and Blasco observed this pair with one from each the Cuzco and Madrid .
MAP not available
IMAGE
REFERENCES:
316-1     Valcárcel 1933:Lám. I-V P
Ht.(cm) = 3.5
Provenience: Pikillacta.
Current Location: Museo Inka (Cusco).
316-2     Ramos/Blasco 1977:98, Lám. VIIId [Núm. 4]
Ht.(cm) = 4.2
Provenience: Pikillacta.
Current Location: Museo de América (Madrid) 8831.
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AGENT: 317
Ramos and Blasco observed this quartet with a pair from each the Cuzco and Madrid .
MAP not available
IMAGE
REFERENCES:
317-1     Valcárcel 1933:Lám. I-V Q
Ht.(cm) = 4.0
Provenience: Pikillacta.
Current Location: Museo Inka (Cusco).
317-2     Valcárcel 1933:Lám. I-V d
Ht.(cm) = 3.1
Provenience: Pikillacta.
Current Location: Museo Inka (Cusco).
317-3     Ramos/Blasco 1977:99, Lám. VIIIh [Núm. 8]
Ht.(cm) = 3.8
Provenience: Pikillacta.
Current Location: Museo de América (Madrid) 8827.
317-4     Ramos/Blasco 1977:101, Lám. IXg [Núm. 15]
Ht.(cm) = 3.2
Provenience: Pikillacta.
Current Location: Museo de América (Madrid) 8841.
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AGENT: 318
Ramos and Blasco observed this pair with one from each the Cuzco and Madrid .
MAP not available
IMAGE
REFERENCES:
318-1     Valcárcel 1933:Lám. I-V R; Bergh 2013:234, Fig. 224c, right
Ht.(cm) = 4.3
Provenience: Pikillacta.
Current Location: Museo Inka (Cusco).
318-2     Ramos/Blasco 1977:98-99, Lám. VIIIf [Núm. 6]; Bergh 2013:234, Fig. 224c, left
Ht.(cm) = 4.2
Provenience: Pikillacta.
Current Location: Museo de América (Madrid) 8858.
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AGENT: 319
Currently, no duplications.
MAP not available
NO IMAGE
REFERENCES:
319-1     Valcárcel 1933:Lám. I-V S
Ht.(cm) = 3.8
Provenience: Pikillacta.
Current Location: Museo Inka (Cusco).
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AGENT: 320
Ramos and Blasco observed a pair with one from each the Cuzco and Madrid . Knobloch adds 320-2 from the Cuzco to create a new triplet. This contrasts with Bergh's (2013:Fig. 224d) observation that 320-2 is "unique to the Cuzco …". A fourth example without provenience is 320-4. From Uhle's 1912 excavation at Chunchurí site in Calama, Chile, a similar figure is carved on a snuff tube depicting the agent playing pan pipe while holding an axe in one hand (Durán et al. 2000:42, fig. 72 No. 1999.1.209). The headdress appears to have multiple wrappings with a flap extending atop the back of the turban.
MAP not available
IMAGE
REFERENCES:
320-1     Valcárcel 1933:Lám. I-V T
Ht.(cm) = 3.6
Provenience: Pikillacta.
Current Location: Museo Inka (Cusco).
320-2     Valcárcel 1933:Lám. I-V h; Bergh 2013:234, Fig. 224d
Ht.(cm) = 3.0
Provenience: Pikillacta.
Current Location: Museo Inka (Cusco).
320-3     Ramos/Blasco 1977:107, Lám. XIId [Núm. 36]
Ht.(cm) = 2.5
Provenience: Pikillacta.
Current Location: Museo de América (Madrid) 8852.
320-4     n/a
Ht.(cm) = n/a
Provenience: not known.
Current Location: Museo Chileno de Arte Precolombino (Santiago) 3351.
320-5     Durán, Eliana S., María Fernanda Kangiser G. y Nieves Acevedo C. 2000:p. 42, Fig. 72 No. 1999.1.209
Ht.(cm) = n/a
Provenience: Chunchurí, Calama, Chile
Current Location: Museo Nacional de Historia Natural, Chile.
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AGENT: 321
Currently, no duplications.
MAP not available
NO IMAGE
REFERENCES:
321-1     Valcárcel 1933:Lám. I-V U
Ht.(cm) = 3.3
Provenience: Pikillacta.
Current Location: Museo Inka (Cusco).
321-2     Larco 1966: Fig.123f
Ht.(cm) = n/a
Provenience: not known.
Current Location: Museo Larco (Lima).
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AGENT: 322
Ramos and Blasco observed this pair with one from each the Cuzco and Madrid .
MAP not available
IMAGE
REFERENCES:
322-1     Valcárcel 1933:Lám. I-V V
Ht.(cm) = 3.5
Provenience: Pikillacta.
Current Location: Museo Inka (Cusco).
322-2     Ramos/Blasco 1977:98, Lám. VIIIe [Núm. 5]
Ht.(cm) = 4.2
Provenience: Pikillacta.
Current Location: Museo de América (Madrid) 8861.
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AGENT: 323
Currently, no duplications.
MAP not available
NO IMAGE
REFERENCES:
323-1     Valcárcel 1933:Lám. I-V W; Bergh 2013:234, Fig. 224e
Ht.(cm) = 2.5
Provenience: Pikillacta.
Current Location: Museo Inka (Cusco).
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AGENT: 324
Currently, no duplications.
MAP not available
NO IMAGE
REFERENCES:
324-1     Valcárcel 1933:Lám. I-V X
Ht.(cm) = 2.5
Provenience: Pikillacta.
Current Location: Museo Inka (Cusco).
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AGENT: 325
Currently, no duplications.
MAP not available
NO IMAGE
REFERENCES:
325-1     Valcárcel 1933:Lám. I-V Y
Ht.(cm) = 2.6
Provenience: Pikillacta.
Current Location: Museo Inka (Cusco).
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AGENT: 326
Ramos and Blasco observed this pair with one from each the Cuzco and Madrid .
MAP not available
IMAGE
REFERENCES:
326-1     Valcárcel 1933:Lám. I-V Z
Ht.(cm) = 2.7
Provenience: Pikillacta.
Current Location: Museo Inka (Cusco).
326-2     Ramos/Blasco 1977:102, Lám. Xb [Núm. 18]
Ht.(cm) = 3.1
Provenience: Pikillacta.
Current Location: Museo de América (Madrid) 8845.
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AGENT: 327
Ramos and Blasco observed this pair with one from each the Cuzco and Madrid . The agent's hat was topped with a small cylinder shape. A similar hat occurs on two agent images carved on a snuff tablet from Uhle's 1912 excavation at Chunchurí site, Calama, Chile (Durán et al. 2000:42, fig. 70 No. 1999.1.177). The published location of this site is incorrect and more likely 22°30' S 68°56' W.
MAP not available
IMAGE
REFERENCES:
327-1     Valcárcel 1933:Lám. I-V a
Ht.(cm) = 2.7
Provenience: Pikillacta.
Current Location: Museo Inka (Cusco).
327-2     Ramos/Blasco 1977:107, Lám. XIIc [Núm. 35]
Ht.(cm) = 2.5
Provenience: Pikillacta.
Current Location: Museo de América (Madrid) 8851.
327-3     Durán, Eliana S., María Fernanda Kangiser G. y Nieves Acevedo C. 2000:p. 42, Fig. 70 No. 1999.1.177
Ht.(cm) = n/a
Provenience: Chunchurí, Calama, Chile
Current Location: Museo Nacional de Historia Natural, Chile.
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AGENT: 328
Ramos and Blasco observed this pair with one from each the Cuzco and Madrid .
MAP not available
IMAGE
REFERENCES:
328-1     Valcárcel 1933:Lám. I-V b
Ht.(cm) = 2.4
Provenience: Pikillacta.
Current Location: Museo Inka (Cusco).
328-2     Ramos/Blasco 1977:104, Lám. XIb [Núm. 26]
Ht.(cm) = 2.8
Provenience: Pikillacta.
Current Location: Museo de América (Madrid) 8863.
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AGENT: 329
Currently, no duplications.
MAP not available
NO IMAGE
REFERENCES:
329-1     Valcárcel 1933:Lám. I-V c
Ht.(cm) = 2.4
Provenience: Pikillacta.
Current Location: Museo Inka (Cusco).
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AGENT: 330
330-1     Valcárcel 1933:Lám. I-V i
Ht.(cm) = 2.7
Provenience: Pikillacta.
Current Location: Museo Inka (Cusco).
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AGENT: 331
Currently, no duplications.
MAP not available
NO IMAGE
REFERENCES:
331-1     Valcárcel 1933:Lám. I-V ch
Ht.(cm) = 2.3
Provenience: Pikillacta.
Current Location: Museo Inka (Cusco).
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AGENT: 332
Currently, no duplications.
MAP not available
NO IMAGE
REFERENCES:
332-1     Valcárcel 1933:Lám. I-V e
Ht.(cm) = 2.9
Provenience: Pikillacta.
Current Location: Museo Inka (Cusco).
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AGENT: 333
Ramos and Blasco observed this pair with one from each the Cuzco and Madrid .
MAP not available
IMAGE
REFERENCES:
333-1     Valcárcel 1933:Lám. I-V f
Ht.(cm) = 3.0
Provenience: Pikillacta.
Current Location: Museo Inka (Cusco).
333-2     Ramos/Blasco 1977:101, Lám. IXe [Núm. 13]
Ht.(cm) = 3.2
Provenience: Pikillacta.
Current Location: Museo de América (Madrid) 8836.
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AGENT: 334
Currently, no duplications.
MAP not available
NO IMAGE
REFERENCES:
334-1     Valcárcel 1933:Lám. I-V g
Ht.(cm) = 3.1
Provenience: Pikillacta.
Current Location: Museo Inka (Cusco).
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AGENT: 335
Ramos and Blasco observed this pair with one from each the Cuzco and Madrid .
MAP not available
IMAGE
REFERENCES:
335-1     Valcárcel 1933:Lám. I-V j
Ht.(cm) = 3.1
Provenience: Pikillacta.
Current Location: Museo Inka (Cusco).
335-2     Ramos/Blasco 1977:108, Lám. XIIg [Núm. 39]
Ht.(cm) = 2.0
Provenience: Pikillacta.
Current Location: Museo de América (Madrid) 8853.
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AGENT: 336
Currently, no duplications.
MAP not available
NO IMAGE
REFERENCES:
336-1     Valcárcel 1933:Lám. I-V k
Ht.(cm) = 2.6
Provenience: Pikillacta.
Current Location: Museo Inka (Cusco).
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AGENT: 337
No duplicates in the Cuzco and Madrid sets.
MAP not available
NO IMAGE
REFERENCES:
337-1     Valcárcel 1933:Lám. X, l
Ht.(cm) = 3.2
Provenience: Chullpaka, Ica.
Current Location: Museo Nacional de Arqueología, Antropología e Historia del Perú (Lima).
337-2     Banco de Crédito del Perú 1984:172, Lám. f
Ht.(cm) = 3.0
Provenience: not known.
Current Location: Museo Larco (Lima).
337-3     Arriola and Tesar 2011: Fig.26, Item 13
Ht.(cm) = 2.9
Provenience: Pikillacta.
Current Location: not known.
337-4     Arriola and Tesar 2011: Fig.28, Item 31
Ht.(cm) = 2.8
Provenience: Pikillacta.
Current Location: not known.
337-5     Arriola and Tesar 2011: Fig.28, Item 23
Ht.(cm) = 2.5
Provenience: Pikillacta.
Current Location: not known.
337-6     Arriola and Tesar 2011: Fig.28, Item 17
Ht.(cm) = 2.2
Provenience: Pikillacta.
Current Location: not known.
337-7     not published; Bat-ami Artzi personal communication, 2015
Ht.(cm) = 2.6
Provenience: not known.
Current Location: Staatliche Museen zu Berlin: Preußischer Kulturbesitz. Search for: V A 1247
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AGENT: 338
Currently, no duplications.
MAP not available
NO IMAGE
REFERENCES:
338-1     Valcárcel 1933:Lam. X, m
Ht.(cm) = 3.4
Provenience: Chullpaka, Ica.
Current Location: Museo Nacional de Arqueología, Antropología e Historia del Perú (Lima).
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AGENT: 339
The unknown agent image of a lost example from the Madrid set. Agent 338 is a holding spot in case the figurine is ever found.
MAP not available
NO IMAGE
REFERENCES:
339-1     Ramos/Blasco 1977:68; McEwan 1984:63-65
Ht.(cm) = n/a
Provenience: Pikillacta.
Current Location: Museo de América (Madrid) - Lost .
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AGENT: 340
Currently, no duplications.
MAP not available
IMAGE
REFERENCES:
340-1     Ramos/Blasco 1977:105, Lám. Xc [Núm. 27]
Ht.(cm) = 2.8
Provenience: Pikillacta.
Current Location: Museo de América (Madrid) 8828.
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AGENT: 341
No duplicates in the Cuzco and Madrid sets.
MAP not available
IMAGE
REFERENCES:
341-1     Ramos/Blasco 1977:103, Lám. Xe [Núm. 21]
Ht.(cm) = 2.7
Provenience: Pikillacta.
Current Location: Museo de América (Madrid) 8829.
341-2     Banco de Crédito del Perú 1984:172, Lám. B
Ht.(cm) = 3.0
Provenience: not known.
Current Location: Museo Larco (Lima).
341-3     Jones 1964:Fig.27
Ht.(cm) = 3.8
Provenience: not known.
Current Location: Sainsbury Centre for Visual Arts, Univ. of East Anglia ( Norwich) [search Cultural Group for 'huari style'].
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AGENT: 342
No duplicates in the Cuzco and Madrid sets.
MAP not available
IMAGE
REFERENCES:
342-1     Ramos/Blasco 1977:106, Lám. XIg [Núm. 31]
Ht.(cm) = 2.7
Provenience: Pikillacta.
Current Location: Museo de América (Madrid) 8830.
342-2     Jones 1964:Fig.29; Bergh 2012:Fig.231
Ht.(cm) = 4.1
Provenience: not known.
Current Location: Milwaukee Public Museum, 34596/9672, 34597/9672.
342-3     not published; Bat-ami Artzi personal communication, 2015
Ht.(cm) = 3.4
Provenience: not known.
Current Location: Staatliche Museen zu Berlin: Preußischer Kulturbesitz. Search for: V A 1251
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AGENT: 343
Currently, no duplications.
MAP not available
IMAGE
REFERENCES:
343-1     Ramos/Blasco 1977:97, Lám. VIIIb [Núm. 2]
Ht.(cm) = 4.7
Provenience: Pikillacta.
Current Location: Museo de América (Madrid) 8832.
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AGENT: 344
Currently, no duplications.
MAP not available
IMAGE
REFERENCES:
344-1     Ramos/Blasco 1977:99, Lám. VIIIg [Núm. 7]
Ht.(cm) = 3.8
Provenience: Pikillacta.
Current Location: Museo de América (Madrid) 8834.
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AGENT: 345
Currently, no duplications.
MAP not available
IMAGE
REFERENCES:
345-1     Ramos/Blasco 1977:100, Lám. IXc [Núm. 11]
Ht.(cm) = 3.4
Provenience: Pikillacta.
Current Location: Museo de América (Madrid) 8835.
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AGENT: 346
Currently, no duplications.
MAP not available
IMAGE
REFERENCES:
346-1     Ramos/Blasco 1977:108, Lám. XIIf [Núm. 38]
Ht.(cm) = 2.2
Provenience: Pikillacta.
Current Location: Museo de América (Madrid) 8837.
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AGENT: 347
Currently, no duplications.
MAP not available
IMAGE
REFERENCES:
347-1     Ramos/Blasco 1977:103, Lám. Xd [Núm. 20]
Ht.(cm) = 3.0
Provenience: Pikillacta.
Current Location: Museo de América (Madrid) 8842.
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AGENT: 348
Currently, no duplications.
MAP not available
IMAGE
REFERENCES:
348-1     Ramos/Blasco 1977:103, Lám. Xf [Núm. 22]
Ht.(cm) = 3.0
Provenience: Pikillacta.
Current Location: Museo de América (Madrid) 8843.
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AGENT: 349
Currently, no duplications.
MAP not available
IMAGE
REFERENCES:
349-1     Ramos/Blasco 1977:104, Lám. Xh [Núm. 24]
Ht.(cm) = 2.9
Provenience: Pikillacta.
Current Location: Museo de América (Madrid) 8844.
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AGENT: 350
Currently, no duplications.
MAP not available
IMAGE
REFERENCES:
350-1     Ramos/Blasco 1977:106, Lám. XIh [Núm. 32]
Ht.(cm) = 2.6
Provenience: Pikillacta.
Current Location: Museo de América (Madrid) 8846.
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AGENT: 351
Currently, no duplications.
MAP not available
IMAGE
REFERENCES:
351-1     Ramos/Blasco 1977:104, Lám. XIa [Núm. 25]
Ht.(cm) = 2.8
Provenience: Pikillacta.
Current Location: Museo de América (Madrid) 8847.
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AGENT: 352
Knobloch observed this pair within the Madrid set.
MAP not available
IMAGE
REFERENCES:
352-1     Ramos/Blasco 1977:106, Lám. XIIg [Núm. 33]
Ht.(cm) = 2.6
Provenience: Pikillacta.
Current Location: Museo de América (Madrid) 8849.
352-2     Ramos/Blasco 1977:105, Lám. XIe [Núm. 29]
Ht.(cm) = 2.7
Provenience: Pikillacta.
Current Location: Museo de América (Madrid) 8855.
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AGENT: 353
No duplicates in the Cuzco and Madrid sets.
MAP not available
IMAGE
REFERENCES:
353-1     Ramos/Blasco 1977:107, Lám. XIIe [Núm. 37]
Ht.(cm) = 2.2
Provenience: Pikillacta.
Current Location: Museo de América (Madrid) 8854.
353-2     Arriola and Tesar 2011: Fig.31, Item 09
Ht.(cm) = 4.5
Provenience: Pikillacta.
Current Location: not known.
353-3     Arriola and Tesar 2011: Fig.31, Item 49
Ht.(cm) = 4.1
Provenience: Pikillacta.
Current Location: not known.
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AGENT: 354
Currently, no duplications.
MAP not available
IMAGE
REFERENCES:
354-1     Ramos/Blasco 1977:100, Lám. IXd [Núm. 12]
Ht.(cm) = 3.4
Provenience: Pikillacta.
Current Location: Museo de América (Madrid) 8857.
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AGENT: 355
Currently, no duplications.
MAP not available
IMAGE
REFERENCES:
355-1     Ramos/Blasco 1977:103-104, Lám. Xg [Núm. 23]
Ht.(cm) = 2.9
Provenience: Pikillacta.
Current Location: Museo de América (Madrid) 8860.
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AGENT: 356
Currently, no duplications.
MAP not available
IMAGE
REFERENCES:
356-1     Ramos/Blasco 1977:97, Lám. VIIIc [Núm. 1]
Ht.(cm) = 5.5
Provenience: Pikillacta.
Current Location: Museo de América (Madrid) 8862.
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AGENT: 357
No duplicates in the Cuzco and Madrid sets.
MAP not available
IMAGE
REFERENCES:
357-1     Ramos/Blasco 1977:102-103, Lám. Xc [Núm. 19]
Ht.(cm) = 2.8
Provenience: Pikillacta.
Current Location: Museo de América (Madrid) 8864.
357-2     Jones 1964:Fig. 30 (now owned by the MET)
Ht.(cm) = 3.2
Provenience: not known.
Current Location: Metropolitan Museum of Art (New York City) 1979.206.926.
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AGENT: 358
Currently, no duplications.
MAP not available
NO IMAGE
REFERENCES:
358-1     Glowacki 2005:259, Fig.2
Ht.(cm) = n/a
Provenience: Huaro.
Current Location: not known.
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AGENT: 359
Currently, no duplications.
MAP not available
NO IMAGE
REFERENCES:
359-1     Bird 1962
Ht.(cm) = n/a
Provenience: not known.
Current Location: American Museum of Natural History (New York City).
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AGENT: 360
Currently, no duplications.
MAP not available
IMAGE
REFERENCES:
360-1     Gift of the Ernest Erickson Foundation, Inc.
Ht.(cm) = n/a
Provenience: not known.
Current Location: Brooklyn Museum of Art (New York City) 86.224.29.
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AGENT: 361
Currently, no duplications.
MAP not available
IMAGE
REFERENCES:
361-1     Gift of the Ernest Erickson Foundation, Inc.
Ht.(cm) = n/a
Provenience: not known.
Current Location: Brooklyn Museum of Art (New York City) 86.224.106.
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AGENT: 362
Currently, no duplications.
MAP not available
NO IMAGE
REFERENCES:
362-1     not published
Ht.(cm) = n/a
Provenience: not known.
Current Location: Museo Chileno de Arte Precolombino (Santiago) 3349.
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AGENT: 363
Currently, no duplications.
MAP not available
IMAGE
REFERENCES:
363-1     not published
Ht.(cm) = n/a
Provenience: not known.
Current Location: Museo Chileno de Arte Precolombino (Santiago) 3350.
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AGENT: 364
Currently, no duplications.
MAP not available
NO IMAGE
REFERENCES:
364-1     not published; Bergh and Clark personal communications, 2012
Ht.(cm) = 3.2
Provenience: not known.
Current Location: Denver Art Museum 1992.502.1
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AGENT: 365

MAP not available
IMAGE
REFERENCES:
365-1     Bergh 2012: Fig.227
Ht.(cm) = 4.7
Provenience: not known.
Current Location: Denver Art Museum 1992.502.3.
365-2     Schindler 2000:154, N.M.331
Ht.(cm) = 4.0
Provenience: not known.
Current Location: Staatliches Museum für Völkerkunde (München) 331 (upper left ).
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AGENT: 366
Currently, no duplications.
MAP not available
IMAGE
REFERENCES:
366-1     Bergh 2012: Fig.230
Ht.(cm) = 3.2
Provenience: not known.
Current Location: Denver Art Museum 1995.39.1.
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AGENT: 367
Currently, no duplications.
MAP not available
IMAGE
REFERENCES:
367-1     not published; Clark personal communication, 2012
Ht.(cm) = 3.2
Provenience: not known.
Current Location: Denver Art Museum 1995.39.2
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AGENT: 368
Currently, no duplications.
MAP not available
NO IMAGE
REFERENCES:
368-1     not published; Bergh and Clark personal communications, 2012
Ht.(cm) = 3.2
Provenience: not known.
Current Location: Denver Art Museum 1995.125
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AGENT: 369
Currently, no duplications.
MAP not available
NO IMAGE
REFERENCES:
369-1     not published; Bergh and Clark personal communications, 2012
Ht.(cm) = 3.4
Provenience: not known.
Current Location: Denver Art Museum 1995.131
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AGENT: 370

MAP not available
IMAGE
REFERENCES:
370-1     not published; Clark personal communication, 2012
Ht.(cm) = 4.1
Provenience: not known.
Current Location: Denver Art Museum 1997.14
370-2     not published; Bergh personal communication, 2012
Ht.(cm) = n/a
Provenience: not known.
Current Location: Museo Larco (Lima).
370-3     Jones 1964:Fig. 28
Ht.(cm) = 3.7
Provenience: not known.
Current Location: Metropolitan Museum of Art (New York City) 1979.206.417.
370-4     Schindler 2000:155, N.M.333
Ht.(cm) = 4.5
Provenience: not known.
Current Location: Staatliches Museum für Völkerkunde (München) 333.
370-5     Watanabe 2001: Fig.16
Ht.(cm) = 3.0
Provenience: Cajamarca.
Current Location: Private Collections.
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AGENT: 371
Currently, no duplications.
MAP not available
NO IMAGE
REFERENCES:
371-1     Bergh 2012:Fig.229
Ht.(cm) = 4.0
Provenience: not known.
Current Location: Denver Art Museum 1997.15.
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AGENT: 372
Currently, no duplications.
MAP not available
NO IMAGE
REFERENCES:
372-1     not published
Ht.(cm) = n/a
Provenience: not known.
Current Location: Field Museum (Chicago) 2333.
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AGENT: 373
"Currently, no duplications.This carved stone (turquoise?) figurine is unique for its exact provenience, Waka site on the W.M. Jaime farm near the city of Ayacucho, Peru, and for its exquisitely detailed rendition of Wari dress. The iconography displayed around the hem band is the double-rayed or S-ray motif and the rectilinear design with one zigzag edge and interior dots that both occur on Epoch 2 Viñaque style pottery from the Huari area. The individual appears with long hair under a simple cap. The clothing is an elaborate layering of textiles with perhaps the frontal edge of a loin cloth extended below the tunic and a tied cape."
MAP not available
IMAGE
REFERENCES:
373-1     Knobloch 2002
Ht.(cm) = n/a
Provenience: Waka site, W.M. Jaime farm, Ayacucho, Peru.
Current Location: Field Museum (Chicago) 2356.
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AGENT: 374
"Currently, no duplications. This carved stone (turquoise?) figurine is unique for its exact provenience from the Waka site on the W.M. Jaime farm near the city of Ayacucho, Peru"
MAP not available
IMAGE
REFERENCES:
374-1     Knobloch 2002
Ht.(cm) = n/a
Provenience: Waka site, W.M. Jaime farm, Ayacucho, Peru.
Current Location: Field Museum (Chicago) 2357a.     Field Museum (Chicago) 2357b.
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AGENT: 375

MAP not available
NO IMAGE
REFERENCES:
375-1     not published
Ht.(cm) = n/a
Provenience: not known.
Current Location: Field Museum (Chicago) 2360.
375-2     Larco 1966: Fig.123b
Ht.(cm) = n/a
Provenience: not known.
Current Location: Museo Larco (Lima).
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AGENT: 376
Currently, no duplications.
MAP not available
NO IMAGE
REFERENCES:
376-1     Larco 1966: Fig.123a; Banco de Crédito del Perú 1984:172, Lám. D
Ht.(cm) = 5.0
Provenience: not known.
Current Location: Museo Larco (Lima).
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AGENT: 377
Currently, no duplications.
MAP not available
NO IMAGE
REFERENCES:
377-1     Larco 1966: Fig.123c
Ht.(cm) = n/a
Provenience: not known.
Current Location: Museo Larco (Lima).
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AGENT: 378
Currently, no duplications.
MAP not available
NO IMAGE
REFERENCES:
378-1     Larco 1966: Fig.123d
Ht.(cm) = n/a
Provenience: not known.
Current Location: Museo Larco (Lima).
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AGENT: 379
Currently, no duplications.
MAP not available
NO IMAGE
REFERENCES:
379-1     Larco 1966: Fig.123g; Banco de Crédito del Perú 1984:172, Lám. E
Ht.(cm) = 5.0
Provenience: not known.
Current Location: Museo Larco (Lima).
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AGENT: 380
Currently, no duplications.
MAP not available
NO IMAGE
REFERENCES:
380-1     not published; Bergh personal communication, 2012
Ht.(cm) = n/a
Provenience: not known.
Current Location: Museo Larco (Lima).
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AGENT: 381
Currently, no duplications.
MAP not available
NO IMAGE
REFERENCES:
381-1     not published; Bergh personal communication, 2012
Ht.(cm) = n/a
Provenience: not known.
Current Location: Museo Larco (Lima).
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AGENT: 382
Currently, no duplications.
MAP not available
NO IMAGE
REFERENCES:
382-1     Schindler 2000:154, N.M.332
Ht.(cm) = 4.5
Provenience: not known.
Current Location: Staatliches Museum für Völkerkunde (München) #332.
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AGENT: 383
Currently, no duplications.
MAP not available
NO IMAGE
REFERENCES:
383-1     Schindler 2000:154, N.M.334
Ht.(cm) = 2.0
Provenience: not known.
Current Location: Staatliches Museum für Völkerkunde (München) #334.
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AGENT: 384
Currently, no duplications.
MAP not available
NO IMAGE
REFERENCES:
384-1     Photo by PJK
Ht.(cm) = n/a
Provenience: not known.
Current Location: Museo Histórico Regional "Hipólito Unanue" (Ayacucho).
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AGENT: 385
Currently, no duplications.
MAP not available
NO IMAGE
REFERENCES:
385-1     Photo by PJK
Ht.(cm) = n/a
Provenience: not known.
Current Location: Museo Histórico Regional "Hipólito Unanue" (Ayacucho).
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AGENT: 386
Currently, no duplications.
MAP not available
IMAGE
REFERENCES:
386-1     Gift of J. Lionberger Davis. Amy Clark personal communication, 2012
Ht.(cm) = 3.2
Provenience: not known.
Current Location: St.Louis Art Museum 167:1954.
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AGENT: 387
Advertisement: Peru, Huari, c. 600-800 AD. A wonderful heavy pendant carved in sodalite (very much resembling that of lapis lazuli). This detailed carving depicts a "curaca" or local tribal chief. Figure stands upright with wide body and face; his short arms down at his side. Pierced completely through the head, ear to ear. Similar to lot 80 in our September 2006 auction that brought $1700. Choice EF. Studio City, CA Collector. H: 1.75". Jun 22, 2008
MAP not available
IMAGE
REFERENCES:
387-1     liveauctioneers.com
Ht.(cm) = 4.2
Provenience: not known.
Current Location: Private Collections.
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AGENT: 388
Currently, no duplications. Advertisement: Peru, Huari, c. 600 – 800 AD. A wonderful heavy pendant carved in sodalite. This detailed carving depicts “curaca” or local tribal chief with striking presence. H: 1.75”. This is one of the nicest Huari pendants we’ve handled and is a rare find. Oct 15, 2006
MAP not available
IMAGE
REFERENCES:
388-1     liveauctioneers.com
Ht.(cm) = 4.2
Provenience: not known.
Current Location: Private Collections.
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AGENT: 389
Currently, no duplications.
MAP not available
NO IMAGE
REFERENCES:
389-1     Jones 1964:Fig. 26
Ht.(cm) = n/a
Provenience: not known.
Current Location: Private Collections.
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AGENT: 390
Currently, no duplications. Watanabe (2001:535): "Según el collecionista, ésta y el espécimen de la Fig. 16, fueron encontrados entre más de 10 figurillas."
MAP not available
NO IMAGE
REFERENCES:
390-1     Watanabe 2001: Fig.15
Ht.(cm) = 2.5
Provenience: Cajamarca.
Current Location: Private Collections.
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AGENT: 391
Currently, no duplications.
MAP not available
NO IMAGE
REFERENCES:
391-1     Bergh personal communication, 2012
Ht.(cm) = n/a
Provenience: not known.
Current Location: Museum zu Allerheiligen Schaffhausen (Switzerland).
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AGENT: 392
Blue-green stone from plowed field where a fine Cajamarca cursive bowl and derived Wari style ceramics were found.
MAP not available
NO IMAGE
REFERENCES:
392-1     Lau 2012:Fig.3
Ht.(cm) = 2.2
Provenience: Carhuaz, Callejón de Huaylas
Current Location: Felipe Díaz collection, Carhuaz
392-2     not published.
Ht.(cm) = n/a
Provenience: not known.
Current Location: not known.
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AGENT: 393

MAP not available
NO IMAGE
REFERENCES:
393-1     Gift of J. Lionberger Davis, Class of 1900
Ht.(cm) = 2.7
Provenience: not known.
Current Location: Princeton University Art Museum.
393-2     Ravines 1970:502
Ht.(cm) = 1.5
Provenience: not known.
Current Location: Private Collections.
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AGENT: 394

MAP not available
NO IMAGE
REFERENCES:
394-1     not published; Bergh and Clark personal communications, 2012
Ht.(cm) = 3.7
Provenience: not known.
Current Location: Denver Art Museum 1992.502.2
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AGENT: 395

MAP not available
NO IMAGE
REFERENCES:
395-1     Arriola and Tesar 2011: Fig.27, Item 15
Ht.(cm) = 2.1
Provenience: Pikillacta.
Current Location: not known.
395-2     Arriola and Tesar 2011: Fig.27, Item 16
Ht.(cm) = 2.2
Provenience: Pikillacta.
Current Location: not known.
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AGENT: 396

MAP not available
NO IMAGE
REFERENCES:
396-1     Arriola and Tesar 2011: Fig.27, Item 43
Ht.(cm) = 2.1
Provenience: Pikillacta.
Current Location: not known.
396-2     Arriola and Tesar 2011: Fig.27, Item 52
Ht.(cm) = 2.2
Provenience: Pikillacta.
Current Location: not known.
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AGENT: 397

MAP not available
NO IMAGE
REFERENCES:
397-1     Arriola and Tesar 2011: Fig.28, Item 04
Ht.(cm) = 2.7
Provenience: Pikillacta.
Current Location: not known.
397-2     Arriola and Tesar 2011: Fig.28, Item 45
Ht.(cm) = 2.9
Provenience: Pikillacta.
Current Location: not known.
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AGENT: 398

MAP not available
NO IMAGE
REFERENCES:
398-1     Arriola and Tesar 2011: Fig.28, Item 03
Ht.(cm) = 2.8
Provenience: Pikillacta.
Current Location: not known.
398-2     Arriola and Tesar 2011: Fig.30, Item 40
Ht.(cm) = 3.0
Provenience: Pikillacta.
Current Location: not known.
398-3     Arriola and Tesar 2011: Fig.30, Item 26
Ht.(cm) = 2.2
Provenience: Pikillacta.
Current Location: not known.
398-4     Arriola and Tesar 2011: Fig.30, Item 34
Ht.(cm) = 2.5
Provenience: Pikillacta.
Current Location: not known.
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AGENT: 399

MAP not available
NO IMAGE
REFERENCES:
399-1     Arriola and Tesar 2011: Fig.30, Item 12
Ht.(cm) = 2.7
Provenience: Pikillacta.
Current Location: not known.
399-2     Arriola and Tesar 2011: Fig.30, Item 33
Ht.(cm) = 2.7
Provenience: Pikillacta.
Current Location: not known.
399-3     Arriola and Tesar 2011: Fig.30, Item 41
Ht.(cm) = 2.7
Provenience: Pikillacta.
Current Location: not known.
399-4     Arriola and Tesar 2011: Fig.30, Item 36
Ht.(cm) = 3.4
Provenience: Pikillacta.
Current Location: not known.
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AGENT: 400

MAP not available
NO IMAGE
REFERENCES:
400-1     Arriola and Tesar 2011: Fig.29, Item 02
Ht.(cm) = 3.6
Provenience: Pikillacta.
Current Location: not known.
400-2     Arriola and Tesar 2011: Fig.29, Item 46
Ht.(cm) = 3.7
Provenience: Pikillacta.
Current Location: not known.
400-3     Arriola and Tesar 2011: Fig.29, Item 24
Ht.(cm) = 3.4
Provenience: Pikillacta.
Current Location: not known.
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AGENT: 401
Currently, no duplications.
MAP not available
NO IMAGE
REFERENCES:
401-1     Arriola and Tesar 2011: Fig.29, Item 19
Ht.(cm) = 2.7
Provenience: Pikillacta.
Current Location: not known.
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AGENT: 402

MAP not available
NO IMAGE
REFERENCES:
402-1     Arriola and Tesar 2011: Fig.31, Item 29
Ht.(cm) = 3.6
Provenience: Pikillacta.
Current Location: not known.
402-2     Arriola and Tesar 2011: Fig.31, Item 39
Ht.(cm) = 4.6
Provenience: Pikillacta.
Current Location: not known.
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AGENT: 403
Currently, no duplications.
MAP not available
NO IMAGE
REFERENCES:
403-1     Arriola and Tesar 2011: Fig.31, Item 30
Ht.(cm) = 3.7
Provenience: Pikillacta.
Current Location: not known.
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AGENT: 404
Currently, no duplications.
MAP not available
NO IMAGE
REFERENCES:
404-1     Arriola and Tesar 2011: Fig.31, Item 07
Ht.(cm) = 4.1
Provenience: Pikillacta.
Current Location: not known.
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AGENT: 405
Currently, no duplications.
MAP not available
NO IMAGE
REFERENCES:
405-1     Arriola and Tesar 2011: Fig.31, Item 37
Ht.(cm) = 4.2
Provenience: Pikillacta.
Current Location: not known.
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AGENT: 406
Currently, no duplications.
MAP not available
NO IMAGE
REFERENCES:
406-1     Arriola and Tesar 2011: Fig.31, Item 48
Ht.(cm) = 3.5
Provenience: Pikillacta.
Current Location: not known.
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AGENT: 407
Currently, no duplications.
MAP not available
NO IMAGE
REFERENCES:
407-1     Arriola and Tesar 2011: Fig.32, Item 06
Ht.(cm) = 4.0
Provenience: Pikillacta.
Current Location: not known.
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AGENT: 408
Currently, no duplications.
MAP not available
NO IMAGE
REFERENCES:
408-1     Arriola and Tesar 2011: Fig.32, Item 20
Ht.(cm) = 4.0
Provenience: Pikillacta.
Current Location: not known.
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AGENT: 409
Currently, no duplications.
MAP not available
NO IMAGE
REFERENCES:
409-1     Arriola and Tesar 2011: Fig.32, Item 08
Ht.(cm) = 3.7
Provenience: Pikillacta.
Current Location: not known.
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AGENT: 410
Currently, no duplications.
MAP not available
NO IMAGE
REFERENCES:
410-1     Arriola and Tesar 2011: Fig.32, Item 51
Ht.(cm) = 4.5
Provenience: Pikillacta.
Current Location: not known.
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AGENT: 411
Currently, no duplications.
MAP not available
NO IMAGE
REFERENCES:
411-1     Arriola and Tesar 2011: Fig.32, Item 50
Ht.(cm) = 3.7
Provenience: Pikillacta.
Current Location: not known.
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AGENT: 412
Currently, no duplications.
MAP not available
NO IMAGE
REFERENCES:
412-1     Arriola and Tesar 2011: Fig.32, Item 32
Ht.(cm) = 4.0
Provenience: Pikillacta.
Current Location: not known.
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AGENT: 413
Currently, no duplications.
MAP not available
NO IMAGE
REFERENCES:
413-1     Arriola and Tesar 2011: Fig.32, Item 42
Ht.(cm) = 3.8
Provenience: Pikillacta.
Current Location: not known.
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AGENT: 414
Currently, no duplications.
MAP not available
NO IMAGE
REFERENCES:
414-1     Arriola and Tesar 2011: Fig.32, Item 21/22
Ht.(cm) = 3.4
Provenience: Pikillacta.
Current Location: not known.
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AGENT: 415

MAP not available
NO IMAGE
REFERENCES:
415-1     Arriola and Tesar 2011: Fig.26, Item 01; Bergh 2012: Fig. 225d
Ht.(cm) = 3.0
Provenience: Pikillacta.
Current Location: not known.
415-2     Arriola and Tesar 2011: Fig.26, Item 11
Ht.(cm) = 3.3
Provenience: Pikillacta.
Current Location: not known.
415-3     Arriola and Tesar 2011: Fig.26, Item 14
Ht.(cm) = 3.2
Provenience: Pikillacta.
Current Location: not known.
415-4     Arriola and Tesar 2011: Fig.26, Item 28
Ht.(cm) = 3.0
Provenience: Pikillacta.
Current Location: not known.
415-5     Arriola and Tesar 2011: Fig.26, Item 10
Ht.(cm) = 3.5
Provenience: Pikillacta.
Current Location: not known.
415-6     Arriola and Tesar 2011: Fig. 27, Item 35
Ht.(cm) = 3.2
Provenience: Pikillacta.
Current Location: not known.
415-7     Arriola and Tesar 2011: Fig.27, Item 44
Ht.(cm) = 2.9
Provenience: Pikillacta.
Current Location: not known.
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AGENT: 416

MAP not available
NO IMAGE
REFERENCES:
416-1     Arriola and Tesar 2011: Fig.27, Item 27
Ht.(cm) = 2.2
Provenience: Pikillacta.
Current Location: not known.
416-2     Arriola and Tesar 2011: Fig.27, Item 18
Ht.(cm) = 3.0
Provenience: Pikillacta.
Current Location: not known.
416-3     Arriola and Tesar 2011: Fig.27, Item 25
Ht.(cm) = 2.8
Provenience: Pikillacta.
Current Location: not known.
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AGENT: 417
Currently, no duplications.
MAP not available
NO IMAGE
REFERENCES:
417-1     Arriola and Tesar 2011: Fig.29, Item 38
Ht.(cm) = 4.0
Provenience: Pikillacta.
Current Location: not known.
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AGENT: 418
Currently, no duplications. Acquired from Mr. Sutorius in 1954 who brought it to Germany very early in the 20th century. He was living in Lima as a business man from the end of the 19th century until 1914. He had to return to Germany because of World War I and never returned to Peru. He gave the collection to the Linden-Museum and kept some objects for himself until he died. Personal communication from Dr. Doris Kurella, Linden-Museum Stuttgart 3/2015.
MAP not available
REFERENCES:
418-1     not published; Bergh personal communication, 2012. Permission renewal 6/4/18.
Ht.(cm) = 6.0
Provenience: not known.
Current Location: Linden-Museum (Stuttgart).
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AGENT: 419
Currently, no duplications.
MAP not available
NO IMAGE
REFERENCES:
419-1     not published; Bat-ami Artzi personal communication, 2015
Ht.(cm) = 2.9
Provenience: not known.
Current Location: Staatliche Museen zu Berlin: Preußischer Kulturbesitz. Search for: V A 37936
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Created by: Dr. Patricia J. Knobloch    
Last Updated:     September 8, 2016
Copyright © 2002 Patricia Jean Knobloch, 9229 Dillon Drive, La Mesa, CA 91941