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Who lived during the Middle Horizon?
This database catalogs human imagery that provides evidence for 'Agent Analysis'. An ancient human image can represent the agency of a single individual or possible social group, thus, the term 'agent' allows ambiguity of exact identification.
The first three numbers represent the database's catalog number for each agent.
The appended dash number represents an artifact example of the agent.
Though rare, artifact copies are then numbered.
For provenienced artifacts, locations are mapped and represent the ancient recognition of each agent's existence.
A black and white composite drawing of the head reflects the Robles Moqo style face-neck jars.

For publications on ‘Agent Analysis' please refer to:
Knobloch, Patricia J.
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.
[English Translation]
2016 La vida y los tiempos de El Señor Wari de Vilcabamba: cronología e identidad del Agente 103 en el imperio Wari durante el Horizonte Medio.
In: Nuevas Perspectivas en la Organizacíon Política Wari, edited by Miłosz Giersz y Krzysztof Makowski. Andes: Boletín del Centro de Estudios Precolombinos de la Universidad de Varsovia 9 (2013): 91-119.
[Contact author for English draft.]
TBA Working draft: Social Network Analysis of the Who Was Who Database, by Patricia J. Knobloch, Elizabeth Gibbons and Justin Jennings.
PLEASE DO NOT CITE WITHOUT PERMISSION FROM AUTHOR. This database represents ongoing research and contributes to the author's intent to publish. Thank you, Patricia Knobloch


AGENTS:
    100     105     110     115     120     125     130     135     140    145    150    155    160
    101     106     111     116     121     126     131     136     141    146    151    156    161
    102     107     112     117     122     127     132     137     142    147    152    157    162
    103     108     113     118     123     128     133     138     143    148    153    158   
    104     109     114     119     124     129     134     139     144    149    154    159   

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 recognition.
On 100-1, 100-2, 100-3, 100-7, 100-9, 100-11, 100-15, and 100-16 examples, the artifacts display an agent clothing style of face-fret patterns and tie-dyed tunics (Bergh 1999; Rowe, A.P. 2012). Here the details of circles and dots often within contrasting colored squares suggests the tie-dyed tunics that are abundantly associated as Wari style textiles. Remarkably is 100-11 with the explicit representation of the face-fret pattern found on many tunics that complements and most likely provides the ethnic identity displayed on one half of the agent face. The distribution of these textiles might also provide evidence of Agent 100 images throughout the Wari state and the use of textiles that marked this identity as rewards for allegiance as well as hegemonic acknowledgement. [see: Knobloch 2013 Unraveling the Mysteries. HALI 176:88-95.]
[Draft]

There are two variations of 100-1 on the Ica tapestry textile discovered by Max Uhle at Ocucaje Site E. (see Hearst 4-4556) This association suggests two generations depicted as Agent 100 with slightly modified 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 an agency version, Agent 100-7, as an archer and kneeling on a curved up pad suggestive of a reed boat. The relatively small size of the bow may be more symbolic of hunting rather than warfare even to the possibility that Agent 100-7 is supposed to represent a religious quest as in hunting in a spirit world. Otherwise, Ochatoma and Cabrera (2002) suggest a warrior theme as a possibility.

After years of reconstruction, a Conchopata urn now displays 7 Agents that include: 100-14, 100-15, 101-4, 106-6, 106-7, 106-8, 112-2, 118-1, 132-6, 132-7, 148-1. The depictions indicate warrior confrontations narrated with Agent 112 displaying aggressive agency against Agent 100 and Agent 101. A naked female is depicted on the interior of the urn splayed out on her back and suckling baby jaguars. Actual accounts of Amazonian women suckling baby monkeys can be found with a Google image search. Susan Niles told me of the practice of Amazonian women suckling orphaned jaguar pups (Susan Niles, personal communication 1999). The intensive narratives on both sides of the urn may indicate its main use as disseminating information rather than food storage and ceremonial rather than quotidian.

Agent 100-14 is a profile head painted on the urn's interior rim band. The headdress is similar to Agent 100-7 representing a warrior standing on a reed boat and therefore not a four-cornered hat.

Agent 100-15 is a full-body, profiled stance with similar hat that has a feathered tuft attached to the back, holds a bow, wears a tie-dye tunic with apparently long feathers protruding from the back and is confronting another agent, most likely another version at Agent 112. It is rare that a profile head of Agent 100 depicts the quadrant divided half.

Agent 100-6 occurs on two tapestry fragments. One from excavations at Huaca Malena (Angeles y Pozzi-Escot 2001) and the other purchased by Lloyd E. Cotsen from Mary Kahlenberg, Textile Arts, Inc. in Santa Fe, NM. Mr. Cotsen formed The Cotsen Foundation for Academic Research, and the foundation gave the collection to The George Washington University Museum in 2019. The tapestry fragment is in the Cotsen Textile Traces Study Collection T-3012. It matches the fragment excavated at Huaca Malena in the Asia Valley. This narrative tapestry depicts Agents 104-12, 107-7, and 108-5. The fragments of the tapestry were purposely cut and mounted for display. The scene appears to be symmetrical with the back leg of two griffins (with two agents each in their bodies that face center), agent heads and huaca heads facing away from the center. However, there are modern threads that were sown down the center in the red background area and therefore, the scene may have been manipulated from two separate panels.

Agent 100-7 represents an archer with shield in a scene of cooperation with Agent 155 that depicts a warrior with axe and shield on a Conchopata style urn. Together these Epoch 1B/2A images are known as the "Boat Warriors", due to the curved pad the agents kneel upon that may represent totora reed boats that are used on Lake Titicaca. Image reconstructions are based on partial urn fragments excavated by José Ochatoma and Martha Cabrera.
Besides Conchopata (see also Agents 106-8, 132-6, 148-1, and 148-2), the only other location for a similar Agent 155 is Agent 160 at the Wari site of Cotocotuyoc in the Huaro Valley. The Conchopata identities may indicate that Agent 100 made Cusco allies during the construction of Pikillacta. To speculate further, this scene of warriors with weapons and shields on reed boats may narrate an expeditionary force into the Lake Titicaca region.

Agent 100-16 is shown with the Epoch 1B cap (not a four-cornered hat) and tie-dyed tunic contemporary with Agent 100-2. The distance between these two examples may indicate how rapidly Wari interests spread.

Agent 100-18 provides evidence of the knowledge of an elite's authority at Jincamocco, a key satellite site of the imperial hegemony.

Agent 100-21 is from the Huaraz region and represents this prestigous Wari elite as a captive in the local Callejon de Huaylas style. The Inca were not able to subdue this cultural population and kept their road building to the east. These facts suggest that the Wari may have tried to establish a satellite outpost in this area but failed to maintain it. North of Huaraz is the Wari site of Honcopampa (Isbell 1989).

Agent 100-22 extends the potential prevalence of this Wari elite further to the south and, in turn, documents the Wari state expansion into that area and into Moquegua.

Agent 100-26 is painted on a urn from the 1942 Julio Tello Conchopata excavations. Photography was sponsored by William H. Isbell and supervised by Gonzalo Rodriquez at the Archivo Tello del Museo Nacional de Arqueología, Antropología e Historia del Perú. The sherd is an example of a Robles Moqo style vessel from Pacheco that supports the hypothesis that these vessels belong to a Conchopata style that was exported to Pacheco.

On Epoch 2 examples Agents 100-8 and 100-9 wear 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     Ocucaje site, Ica Valley     Phoebe A. Hearst Museum of Anthropology 4-4556 ;    Knobloch 2002 photo ;    Uhle 1913:Fig.4 ;    Menzel 1977:Fig.130 ;    Knobloch 1989:Fig.15 ;    Kaulicke 1998:262
100-2 (copy 1)     Pacheco site, Rio Nasca     Tello 1942:Lam.XXIII right ;    Spielvogel 1955:Plate XCIV, photo 2 ;    Ubbelohde-Doering 1967:201
100-2 (copy 2)     Pacheco site, Rio Nasca     Von Hagen 1968:128
100-2 (copy 3)     Pacheco site, Rio Nasca     Lumbreras 1969:243
100-2 (copy 4)     Pacheco site, Rio Nasca     Ubbelohde-Doering 1927:Abb.9 ;    Spielvogel 1955:Plate XCIV, photo 1 ;    Art Institute Chicago
100-2 (copy 5)     Pacheco site, Rio Nasca     Morell 2002:125
100-2 (copy 6)     Pacheco site, Rio Nasca     Ubbelohde-Doering 1952:Fig.109
100-3     No provenience     Cleveland Museum of Art 2011.35 ;    Bergh and Jennings 2012:Fig.18;    Lapiner 1976:572
100-4     Azangaro site, Ayacucho     Anders 1986:Fig.7.56a
100-5     Vista Alegre site, Rimac Valley     Schaedel 1957:Fig.E
100-6     Huaca Malena site, Asia Valley    Tapestry Fragments.
100-7     Conchopata site, Ayacucho     Knobloch 2000c ;    Isbell 2000:Fig.26, left ;    Ochatoma and Cabrera 2002:Fig.8.5A-C "Boat Warrior"
100-8     Wilkawain site, Huaraz     Bennett 1946:Fig.10F
100-9     Anja site, Jauja, Mantaro Valley    Anton 1962:113 ;    Spielvogel 1955:Plate XCIII, photo 1 ;    Kubler 1975:184 ;    Anton 1972:Fig.205 ;    Anton and Dockstader 1968:Fig.205
100-10     Huari site, Ayacucho     Wagner 1981:Fig.A10B
100-11     No provenience     Larco Hoyle 1966:Fig.116 (Museo Amano, Lima) ;    Kaufman Doig 1976:234 ;    Stierlin 1984:135 ;    LaFarge 1981:93
100-12     Huari site, Ayacucho     Bennett 1953:Fig.21K
100-13     No provenience     Private collection    Lavalle 1989:cover ;    Reid 1986:Plate 33
100-14     Conchopata site, Ayacucho     Isbell and Cook 2002:Fig.9.13    Field photos and drawings courtesy of William H. Isbell and reconstruction by Knobloch 1999
100-15     Conchopata site, Ayacucho     Field photos and drawings courtesy of William H. Isbell and reconstruction by Knobloch 1999
100-16     Cajamarca area     private collection     Watanabe 2001:Fig.4
100-17     Huari site, Ayacucho     Brewster-Wray 1990:Fig. 78, lower left
100-18     Jincamocco site, Cabana     Photos courtesy of Katharina J. Schreiber
100-19     San Jose de Moro site, Jequetepeque Valley    Castillo 2001:Fig.15, lower right, face sherd
100-20     Huari site, Ayacucho     Bennett 1953:Plate 6G (tunic pattern matches 100-9)
100-21     Yarcok site, Callejon de Huaylas    Photos courtesy of Victor Ponte ;    see also: Ponte 2001:Fig.24
100-22     La Oroya site, Arequipa     Photo courtesy of Lidio Valdez
100-23     Ocucaje, Nasca     Ravines 1977:Fig.58 - Carlos Soldi collection
100-24     No provenience     Haeberli 2019:Fig.6.5 reverse side not published; see Agent 103-25. Personal communication to PJK.
100-25     Huari site, Ayacucho     Lumbreras 1960a:Lám. IX a
100-26     Conchopata     1942 excavations, Archivo Tello del Museo Nacional de Arqueología, Antropología e Historia del Perú. Photo courtesy of William H. Isbell (2003)
BACK TO TOP
AGENT: 101
There are several agents that display 'tear bands': a cheek design that represents a band attached to the lower eyelid. Agent 101's tearband is embedded with X's and the band may continue onto the forehead. In some examples the X may appear like a plus sign, +, though most likely due to the artisan's skill. This agent occurs in high status depictions and is most commonly recognized in the Ayacucho basin area. The Agent 101 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

Agent 101-1 is in a confrontational stance on the Ica textile in facing Agent 100-1. This scene suggests a power struggle that coalesced into a possible Wari federation of ethnically distinct groups. (see Hearst 4-4556)

After years of reconstruction, a Conchopata urn now displays 8 agents that include: 100-14, 100-15, 101-4, 106-6, 106-7, 106-8, 112-2, 118-1, 132-6, 132-7, 148-1 and 148-2. The depictions indicate warrior confrontations between Agent 112 with Agent 100 and with Agent 101. There is a painting of a naked female splayed out on the urn's interior with baby jaguars at her nipples. There are recent accounts of Amazonian tribes in which women suckle baby monkeys. The intensive narratives on both sides of the urn may indicate its main use as disseminating historic information rather than used as a quotidian food vessel.

The Agent 101-4 version provides a most elaborate and detailed depiction with four-cornered hat and matching tunic of face-fret motifs. At its right shoulder is the image of a Crested Eagle (Morphnus guianensis) (Knobloch 2000:400, Figure 11). Facing to the right and holding a club, Agent 101-4 confronts another warrior, Agent 112-2, that is also holding a club and a round shield.

On an exquisitely detailed jar, Agents 101-6, 132-1 and 137-1 are depicted with various cultivars. This association suggests that 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. Moreover, Isbell (1977:10) and Anders (1986:56) mention possible trade routes from Jargampata and Azangaro, respectively, into the ceja de selva region. The identification of the oca and tuna are based on similar observations by Yacovleff and Herrera (1934:308, 321, respectively).

Agent 101-7's depiction on Conchopata urns suggests a powerful leader (Knobloch 2000b:Fig.10, 11) utilizing shamanistic tools (such a mirror to reflect and control the sun's rays) to acquire high status.

Agent 101-16 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 it wears a tunic described as 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 that grave however.

Agent 101-18 is depicted on a bottle found at the Castillo de Huarmey wearing a tie-dyed 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.

Agent 101-19 is depicted on a textile from Huaca Malena, Asia Valley as 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).
MAP
REFERENCES:
101-1    Ocucaje site, Ica Valley     Phoebe A. Hearst Museum of Anthropology 4-4556 ;    Knobloch 2002 photo ;    Uhle 1913:Fig.4 ;    Menzel 1977:Fig.130 ;    Knobloch 1989:Fig.15 ;    Kaulicke 1998:262
101-2    Huari site, Ayacucho     Yale Peabody Museum of Natural History, Division of Anthropology YPM ANT 212890 ;   Knobloch, Isbell, Fullen, Zegarra 2013 photo;    Bennett 1953:Pl.8A,B
101-3    Huari site, Ayacucho     Yale Peabody Museum of Natural History, Division of Anthropology YPM ANT 211271 ;   Knobloch, Isbell, Fullen, Zegarra 2013 photo;    Bennett 1953:Fig.15D ;    Spielvogel 1955:Plate XLIII, photo 1 ;    Spielvogel 1955:Plate XLIII, photo 2
101-4    Conchopata site, Ayacucho     Ochatoma and Cabrera 2002:232, Fig.8.6     combined with: Field photos and drawings courtesy of William H. Isbell and reconstruction by Knobloch 1999 ;    Knobloch 2000b:Fig.10b
101-5    Huari site, Ayacucho     Knobloch 1999/2000
101-6    Conchopata site, Ayacucho     Laboratorio de Arqueología, Universidad Nacional de San Cristóbal de Huamanga Knobloch 2000c photo
101-7    Conchopata site, Ayacucho     Knobloch 2009 ;    Knobloch 2000b:Fig.10a
101-8    Trancas valley site, Nasca     Phoebe A. Hearst Museum of Anthropology 4-9601;   Knobloch 1988-2002 photo ;    O'Neale and Kroeber 1930:Pl.14b,c ;    Spielvogel 1955:Plate XLIII, photo 3
101-9    Huari site, Ayacucho     Benavides 1983:Lam.XXIc
101-10    No provenience     Private collection    Benavides 1999:Lam.4
101-11    Huari site, Ayacucho     Private collection ;    William H. Isbell photo ;   Jennings 2010:Fig.1.2B
101-12    No provenience     Brooklyn Museum of Fine Arts (53.147) 1961:Fig.286
101-13    Huari site, Ayacucho     Lumbreras 1959:Lam.8E
101-14    Huari site, Ayacucho     Yale Peabody Museum of Natural History, Division of Anthropology YPM ANT 212786;   Knobloch, Isbell, Fullen, Zegarra 2013 photo; ;    Spielvogel 1955:Plate XLIII, photo 1 ;    Spielvogel 1955:Plate XLIII, photo 2
101-15    Huari site, Ayacucho     Yale Peabody Museum of Natural History, Division of Anthropology YPM ANT 212816;   Knobloch, Isbell, Fullen, Zegarra 2013 photo;     Spielvogel 1955:Plate CII, photo 4
101-16    No provenience     Milwaukee Public Museum 2003;     Anton and Dockstader 1968:Fig.206
101-17    No provenience     Museo de Americas (Madrid, Spain). Search museum site by 08592
101-18    Castillo de Huarmey site, Huarmey Valley    Giersz, et al 2014:138-139 Figure on a reed boat
101-19    Huaca Malena site, Asia Valley    Angeles y Pozzi-Escot 2001:Fig.9A-9B
101-20    No provenience     I. Michael Kasser Collection, KP246     Knobloch 2012:Fig.115 agent image on back
101-21    Conchopata site, Ayacucho     William H. Isbell, field drawing. conical "plug" ceramic object (EA105, Locus 2095, HE1845, No.397)
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AGENT: 102
This agent is one of the earliest depictions of Wari individuals. Sherds from effigy jars depicting Agent 102 were found in the 1977 Huari excavation dating back to Middle Horizon Epoch 1 (102-1, 2, 3). Early effigy jars are simple face-neck vessels with a round body. The facial features of Agent 102 usually include black hair, black bangs, black sideburns, chevron headband and rectangular motifs known here as 'tocapus' on the cheeks. These motifs are similar to those painted on the interior of open bowls in the Ocros and Chakipampa style pottery known as 'pendent rectangles' because the motif is attached to and appears to hang from the rim band of such vessels. I suggest that these rectangular motifs are ethnic markers and may be precursors to Inca style tocapu squares used to designate known populations in the Inca Empire as often depicted by textiles. For examples of Wari tocapus see: http://whowaswhowari.sdsu.edu/WWWTocapus.html.

From an offering, Agent 102-4 is depicted on 27 oversize, effigy jars in the Chakipampa 1B style. Wari Tocapu 101 was painted on the cheeks. From the neck down about two-thirds of the body of the vessels were demarcated into two or three panels by wide bands within which were painted various motifs, often including two stylized hands as rectangles with five bands as fingers projecting upward.

From another offering, Agetn 102-5 is depicted on 23 oversize effigy jars that were salvaged from a municipal pipeline trench. The vessels' face-neck depictions varied in the facial features, some with cheek motifs and dotted beard, but all with the chevron headband. Here, Agent 102-5 represents a group ethnicity. Based on the vessels' shoulder design, this group of Agent 102s wore short tunics depicting humpback animals (most likely a stylized feline) similar in style to those on textiles from the coastal area of the Nievería culture. The barrel shaped body of these vessels were painted with two complex themes. A few had an upside-down U-shape motif surrounded by stylized versions of the ventral animal (Knobloch 2012:Fig.96, errata (Epoch 1B)). Most depicted one staff god standing on a pedestal with two rows of stylized versions of profile deities facing in opposite directions that filled in the remaining exterior wall. I discovered that the staff god was remarkably similar to its depiction on the back of the Ponce Statue at Tiwanaku, thereby adding to the integrity of the Southern Andean Iconographic Series (Isbell and Knobloch 2009). Agent 102 may represent the ethnic identity of individuals who developed 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 Epoch 1B agent has not yet been found depicted on Wari style pottery from the south coast. It does appear on an Epoch 2 textile from the Ica Valley (102-6), but only as a profile face among several other agent profile faces that may narrate ethnic identities forming a social bond. As profile faces these agents are secondary figures to the two full bodied agents that dominate the textile's imagery (100-1 and 101-1). The images were symmetrically arranged to face in each other in a confrontational scenario. The size distinction may represent a temporal dimenstion to the textile's narrative with important personages along the top who had earlier formed two separate allegiances to one or the other of the two full bodied agents.

Agent 102-8 is a stylized version that combines early Huarpa facial technique, Nasca vessel shape and early Chakipampa style motifs. Found in Chimbote, it may have been brought there during modern times (c1900) for sale since there is no record of in situ discovery.

Agents 102-9 and 10 both show the variation of a horizontal banded tocapu. (see Hearst 4-4556 for detailed agent identification)
MAP
REFERENCES:
102-1    Huari site, Ayacucho     Knobloch 1983:Plate 59c, St.22
102-2    Huari site, Ayacucho     Knobloch 1983:Plate 59a, St.5
102-3    Huari site, Ayacucho     Knobloch 1983:Plate 59b, St.4
102-4 (27 copies)    Conchopata site, Ayacucho     Example A, Example B, Example C. Knobloch 2015, lab photos.     Isbell and Cook 2002:Fig.9.18 ;    Isbell and Cook 2002:Fig.9.19     example from 1977 HUPP excavations
102-5 (23 copies)    Conchopata site, Ayacucho    Knobloch, in press (Reconstruction) ;    Isbell and Cook 1987:32, upper left ;    Isbell 2000:Fig.13
102-6    Ocucaje site, Ica Valley    Phoebe A. Hearst Museum of Anthropology 4-4556 ;    Knobloch 2003 photo;    Uhle 1913:Fig.4 ;    Menzel 1977:Fig.130 ;    Knobloch 1989:Fig.15 ;    Kaulicke 1998:262
102-7    Huari site, Ayacucho     Knobloch 1999/2000
102-8    Chimbote area     Ethnologisches Museum der Staatlichen Museen zu Berlin, V A 13692     Knobloch 1985 photo, collected by Bolivar in 1900
102-9    Huari site, Ayacucho     Knobloch 1977 (bands painted horizontally)
102-10    Huari site, Ayacucho     Yale Peabody Museum of Natural History, Division of Anthropology YPM ANT 211696 ;   Knobloch, Isbell, Fullen, Zegarra 2013 photo ;   Bennett 1953:Fig.21Q, Pit8E (bands painted horizontally)
102-11    Huari site, Ayacucho     Private collection. Jennings 2010:Fig.1.2B Photo by William H. Isbell
102-12    Conchopata site, Ayacucho     Yale Peabody Museum of Natural History, Division of Anthropology YPM ANT 213097 ;   Knobloch, Isbell, Fullen, Zegarra 2013 photo
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AGENT: 103
This agent is usually associated with Agents 108 or 117 at central and south central coast proveniences. The face is divided into four equal quadrants of two colors. The headdress is a black cap that usually includes a central 'top knot'. Small, white squares with two tiny black dots along one edge frame the face and occur on the agent's black tunic. These represent silver sequins sewn onto cloth. On a lyre cup excavated at Huari, Agent 103-6 is a captive with another captive Agent 141-1 that suggests an agency of conflict within Wari politics.

As a profile head, Agent 103-7 occurs on oversize Conchopata urns with several other agents (See: 108-3, 109-3, 123-1, 124-1, 125-1, 156-1, 157-1.) all depicted with their tongues hanging out that most likely indicates a coercive strategy of torture through strangulation. (On a depiction of Agent 112-2 a bodiless head with its tongue hanging out suggests a trophy head - See Ochatoma and Cabrera 2002:Fig.8.11B). As with Agents 102, 103 and 106, this agent association within Wari political history is also documented on the Ica tapestry showing a possible allegiance to Agent 100. (see Hearst 4-4556)

The discovery of a Wari site at Espíritu Pampa by archaeologist, Javier Fonseca, provides profound evidence of this agent (or agents) that represent a prestigious role in Wari society. Its depiction on Huari (103-6, 103-21) and Conchopata ceramics (103-7) as a captive or possibly decapitated victim may indicate an agency of aggression against those rulers at Huari during the initial expansion of the empire. Its depictions on Epoch 2 artifacts (also from Huari 103-12, 103-13) 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 (103-10, 103-11) (Fonseca and Bauer 2020:103,108, respectively). Besides the two vessels with 103 depictions, hundreds of silver sequins were found in the burial - each with two pin holes for sewing onto a textile - that are most likely represented by the small white squares with two small black dots that adorn the tunic images of Agent 103. Thus the real "Señor de Vilcabamba" (also known as Señor Wari) may have worn a tunic similar to those on full-body depictions of Agent 103.

Another recently discovered trove of gold and silver adornments and implements was discovered at Cutervo near Cajamarca and reported in La Republica, 27 abril 2017. Among the items is a rectangular, silver plaque (not much bigger than a legal size sheet of paper) with bent lines down the middle and across the corners. In the middle of each half is a repoussé head. One clearly depicts Agent 103 with the square sequins in a band across the forehead, sides and under the chin. The top of the round cap has an extra small cap to represent the central top knot as seen with Agents 103-6, 7, 13. The Agent 103 depiction with a yet to be identified agent depiction suggests cooperation or a possibility of allegiance. The entire trove is reminscent of the Espíritu Pampa collection and provides crucial information on the prestige of Wari elites and their agency of governing in distant regions of the empire. It has been published recently (Fonseca and Bauer 2020:179).

Though there was no associated pottery to stylistically date the Cutervo material, this agent analysis provided a stylistic marker for Middle Horizon Wari culture. I emailed this information on the same day it was reported to Luis Jaime Castillo who passed it on to the director of the Cajamarca branch of the Ministerio de Cultura.

The current photos also depict a circular, silver disc with half-spherical, gold baubles set on top to cover the repoussé circles of the disc. The disc represents another example of the pectoral disc carved into Agent 154-1 figurine. All known examples of such discs are now published (Fonseca abd Bauer 2020; Isbell 2016:Fig. 27A). The gold baubles do not belong to the disc. They have tiny holes for threading and were most likely attached to a textile (tunic) similar to the sequins related to El Señor Wari de Vilcamba (see reference below).

The pottery examples of Agent 103 at San Jose de Moro (103-8), El Palacio (103-23) and Cutervo (103-22) certainly indicate a strategic area of influence if not control by an elite leader in the far north. Agent 103-23 is a beautiful depiction of the sequined headdress.

Agent 103-24 extends this identity further south that complements the Wari expansion into Arequipa and adds to the number of Wari agents represented at the site of Quilcapampa (Huamán L., et. al. 2020) (See Agents 141-4, 151-3, and 152-2).

Agent 103-25 was displayed on one side of a pouch with Agent 100 on the other side. Thus, Joerg Haeberli's (2019:151) carbon date (R29905/3, BP 1218 +/- 30) with the most recent calibration by CALIB REV8.2 is cal AD 773-970 at 95.4 percent within 2 sigma with median probability of 866 (corrected for Southern Hemisphere) and places this appearance in a broad 2 century time period approximately 750-950 AD with a 3 peaked distribution curve.

For a detailed discussion of this Agent 103 refer to:
Knobloch, Patricia J. 2016 La vida y los tiempos de El Señor Wari de Vilcabamba: cronología e identidad del Agente 103 en el imperio Wari durante el Horizonte Medio. In: Nuevas Perspectivas en la Organizacíon Política Wari edited by Miłosz Giersz y Krzysztof Makowski. Andes: Boletín del Centro de Estudios Precolombinos de la Universidad de Varsovia 9 (2016): 91-119. Contact author for English draft.
MAP
REFERENCES:
103-1    Ocucaje site, Ica Valley     Phoebe A. Hearst Museum of Anthropology 4-4556    Knobloch 2002 photo ;    Uhle 1913:Fig.4 ;    Menzel 1977:Fig.130 ;    Knobloch 1989:Fig.15 ;    Kaulicke 1998:262 (tapestry)
103-2    south central sierra (Huancayo region)     Menzel 1968:Fig.46 (vertical sided dish) (Gálvez Durand collection, Gran Unidad Escolar Santa Isabel, Huancayo)
103-3    No provenience     Anton and Dockstader 1979:Fig.211 (flask)
103-4    Pachacamac site, Lima     Ethnologisches Museum der Staatlichen Museen zu Berlin, V A 49191     Knobloch 1985 photo (tumbler from Pachacamac with Agent 117)
103-5    Chimu Capac site, Supe Valley     Phoebe A. Hearst Museum of Anthropology 4-7700 ;    Knobloch 1988 photo (textile from Chimu Capac with Agent 108)
103-6    Huari site, Ayacucho     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    Conchopata site, Ayacucho     Kaulicke and Isbell 2001:cover (oversize urns);     Knobloch 1999     Photos courtesy of William H. Isbell
103-8    San Jose de Moro site, Jequetepeque Valley     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    No provenience     Larco Hoyle 1966:Fig.88 (Epoch 2 Atarco double-chambered bottle)
103-10    Espíritu Pampa site, Vilcabamba     Cusco exhibit of "Señor de Wari" "Señor Wari" or "Señor de Vilcabamba" (full bodied on face-neck bottle)
103-11    Espíritu Pampa site, Vilcabamba     6th slide, lower right figure. Cusco exhibit of "Señor de Wari" "Señor Wari" or "Señor de Vilcabamba" (profile face on body of bottle)
103-12    Huari site, Ayacucho     Yale Peabody Museum of Natural History, Division of Anthropology YPM ANT 211838.Knobloch, Isbell, Fullen, Zegarra 2013 photo
103-13    Huari site, Ayacucho     Yale Peabody Museum of Natural History, Division of Anthropology YPM ANT 212446.Knobloch, Isbell, Fullen, Zegarra 2013 photo
103-14    No provenience     Museum of Fine Arts, tapestry panel 1996.50;     MFA tapestry panel 1996.50 on WWW website
103-15    Nasca region     Ethnologisches Museum der Staatlichen Museen zu Berlin, V A 50915     Knobloch 1985 photo Ethnologisches Museum der Staatlichen Museen zu Berlin V A 47772 (single spout, effigy bottle)
103-16    Nasca region     Museo Larco, Catálogo en Línea, ML035565 (lyre cup)
103-17    Nasca region     Museo Larco, Catálogo en Línea, ML010484 (lyre cup)
103-18    No provenience     Museo Chileno de Arte Precolombino - MCHAP 0299 (doublespout bottle)
103-19    Pachacamac site, Lima     Ethnologisches Museum der Staatlichen Museen zu Berlin, V A 49138     Knobloch 1985 photo (diverging straight sided bowl)
103-20    No provenience     Museo Nacional de Arqueología, Antropología e Historia del Perú, Lima (lyre cup with Agent 117);    Knobloch 2010:204, Fig. 13
103-21    Huari site, Ayacucho     Tung 2012:190, Fig.6.20 (Monqachayoq sector, Photo by Pérez Calderón)
103-22    Cutervo site, Cajamarca     La Republica article, 27 abril 2017
103-23    El Palacio, Cajamarca     Watanabe 2016:Fig.16
103-24    Quilcapampa site, Arequipa     photo by Johny A. Isla 2015
103-25    No provenience     Haeberli 2019:Fig.6.5 (see Agent 100-24)
103-26    No provenience     Peabody Museum of Archaeology and Ethnology at Harvard University, enter 32-30-30/63)
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AGENT: 104
This agent's distinctive headdress may have evolved from the rayed face common in Nasca iconography. Though depicted on several artifacts listed below, unfortunately, most have no provenience. The textile depictions would most likely have had coastal proveniences and may have represented a coastal population.
As a captive on four highly crafted artifacts and warrior on three more, Agent 104 was given a prestigious amount of recognition that documented heroic accomplishments and defeat.
Agents 104-3, 104-6, and 104-8 appear as captives of Wari Profile Deities (of which there are many). Some such deities appear as combatant warriors with Staff God attributes such as belted tunics, unlike Conchopata style Profile Deities, yet do not hold staffs or display a complete corona headdress (104-3, 6). Therefore, a hybrid category is used here as 'Warrior Deities'. In all cases these entities most likely represent mythical metaphors of supernatural beliefs as suggested by Frank Salomon from the Huarochiri manuscript. The Warrior Deity fighting Agent 104-3 appears more like a bat (such as the South American vampire bat) than a feline. Another example of this bat imagery occurs on a copper cast ornament found by Max Uhle in a mine of Cerro del Toro, east of Huamachuco (Sue Bergh 2018, personal communication); (Visit: Phoebe A. Hearst Museum of Anthropology 4-3589     Search Museum Number 4-3589 )
Agent 104-5 is an elaborately modeled bottle of this agent as a warrior grasping a captive on a lower deck with stairs to the upper deck with two modeled agents that remain unthreatened. The three agents have faces divided horizontally into two quadrants and may represent an ethnic group. Next to Agent 103-18 on MFA tapestry is another agent with a face divided horizontally (NOT ASSIGNED).
Agent 104-11 finally provides a Huari site provenience. As a sherd it depicts the head black head covering and a corner of the sunface diadem above a red band with white dots. This pattern is identical to Agent 104-10 headdress. This example can now add a highland origin to this agent, even though coastal origins for some of the artifacts may be possible.
Agent 104-12 occurs on a tapestry fragment in the Cotsen Textile Traces Study Collection T-3012, courtesy of The George Washington University Museum. It matches a fragment excavated at Huaca Malena in the Asia Valley. This narrative tapestry includes Agents 100-6, 107-7, and 108-5.
MAP
REFERENCES:
104-1    No provenience     Harcourt 1924:42, top right (as warrior with shield)
104-2    No provenience     Brooklyn Museum, NY, Fank L. Babbott Fund, 53.147 (profile head) ;   Knobloch 2010:Fig.19 ;    Bergh 2012:272, Fig.99
104-3    No provenience     Private collection   Lapiner 1976:Fig.580, 581 (as captive of a profile deity)
104-4    No provenience     Clados (accessed 2016):Tocapu.org PicID000567 (as captive of Agent 154-3)     Stuhr 2008: Fig. 63
104-5    No provenience     Private collection   Lumbreras 2000:21;     Isbell 2000b:frontispiece ;   Knobloch 2011:Fig.14 (Enrico Poli Museum) (as warrior grasping a captive)
104-6    No provenience     Ethnologisches Museum der Staatlichen Museen zu Berlin, V A 66393 (as captive of a profile deity);    Bergh 1999:Fig.86, bottom;     Knobloch 2010:209, Fig.21 (partially on far right edge; incorrect image was published)
104-7    No provenience     Schindler 2000:162, Fig - N.M. 014 (as warrior with shield)
104-8    No provenience     Private collection     Knobloch 2010:207, Fig.17, first captive agent in from top left corner (as captive of a profile deity)     Closeup
104-9    No provenience     Peabody Museum of Archaeology and Ethnology at Harvard University, enter 42-28-30/4485     profile head of Agent 104 with voice ray ending in feline head
104-10    No provenience     Knobloch 1979 photo of double spout, Pachacamac style bottle on exhibit at Yale Peabody Museum of Natural History
104-11    Huari site, Ayacucho    Yale Peabody Museum of Natural History, Division of Anthropology YPM ANT 211342 Knobloch, Isbell, Fullen, Zegarra 2013 photo
104-12    Huaca Malena site, Asia Valley     Tapestry Fragments
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AGENT: 105
Apparently a coastal based Agent with possible ancestry among the Nasca who produced effigy jars depicting a similar headdress with two extended horn-like knobs (105-6, 105-7). Copies of Agent 105-2 were assigned to the Atarco style though these urns retain Robles Moqo features of modeling (Menzel 1964:50, ftnt. 303).
In association with Agents 147 and 107, Agent 105 appears to be the one in command. (see Zuidema 1972 for 4analysis). As a warrior with axe, bow and arrow, one vessel depicts Agent 105-3 with supernatural traits of split eyes and gaping animal mouth. His warrior agency and south coast location is also supported by Agent 105-8 that lacks one lobe perhaps due to the difficulty of inlay work yet retains the simple cap, a checkered tunic that may indicate fields for icons rather than vertical panels found on Wari tunics and grasps a club and trophy head. Agent 105 has not been found on artifacts from Wari heartland and probably did battle on the south coast.
MAP
REFERENCES:
105-1     No provenience     Spielvogel 1955:Plate XCIII, photo 3
105-2 (copy 1)    No provenience     Anton 1962:Fig.107
105-2 (copy 2)    No provenience     Flagel 1929:Planche I ;    Kelemen 1946:Pl.164a
105-2 (copy 3)    No provenience     Museo Regional de Ica "Adolfo Bermudez Jenkins", MRI-00178-01;    Zuidema 1972:Fig.2,3 ;    Salazar Bondy 1964:32 (back only) ;    Lumbreras 1990:204;     Larco Hoyle 1966:Fig.106;     Knobloch 2010:206, Fig.15
105-3    No provenience     Museo Chileno de Arte Precolombino - MCHAP 0470 (effigy jar);     Lavalle 1984:145 ;    Lumbreras 1974:Fig.166 ;    Lumbreras 1990:218
105-4    Pacheco site, Nasca     Tello 1942:Lam.XVI, lower right    Ubbelohde-Doering 1927:Abb.10,11 ;    Spielvogel 1955:Plate XCVIII, photos 2, 3 (double chambered vessel)
105-5    No provenience     Lapiner 1976:234, Fig.539.
105-6 (Nasca antecedent)    Nasca region     Lapiner 1976:205, Fig.487 (5th vessel).
105-7 (Nasca antecedent)    Nasca region     Lumbreras 1974:130, Fig.138, lower right effigy vessel
105-8    Ocucaja, Nasca     Schindler 2000:149, N.M.304
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AGENT: 106
Agent 106 is identified by the wearing of an animal headdress that is usually reserved for those participating in spiritual guidance or shaman rituals. Such a role could occur in multiple cultural groups. Thus this agent may represent different ethnicities or a prestigious shaman.
After years of reconstruction, a Conchopata urn now displays 7 Agents that include: 100-14, 100-15, 101-4, 106-6, 106-7, 106-8, 112-2, 118-1, 132-6, 132-7, 148-1. The depictions indicate warrior confrontations involving Agent 112 with Agent 100 and with Agent 101. There is a naked female splayed out on the urn's interior with baby jaguars at her nipples. It is difficult to determine if the jaguars are merely suckling and nibbling. There are recent accounts of Amazonian tribes in which women suckle baby monkeys. The intensive narratives on both sides of the urn may indicate its main use as disseminating information rather than food storage and ceremonial rather than quotidian. This urn association of Agent 106 with other agents is supported within the upper band on the Ica textile by the depiction of this agent again associated with numerous agents. This arrangement may document a social status equivalent to the others depicted in that row. (see Hearst 4-4556) Agents 106-6, 7, and 8 occur together on the same Conchopata style urn on the interior and exterior rim band.
Agent 106-6 is a drawing that indicates a remnant image of a profile face and fox headdress. (nose is missing) above a headband of a row of diamond elements painted on a large Conchopata style urn.
Agent 106-7 (not shown, refer to Mancilla 2012:124) with tearbands of points.
Agent 106-8 has a nose plug. Its facial design is an elaborate band curving around the eye and mouth with sawtooth points each embedded with triangle elements that point towards the nose and from opposite directions, inward to the cheek area, then ending in curls at the chin and cheek. It is similar to the descriptions of Agents 132-6, 148-1, 148-2 and 162. Other agents with embedded triangular elements in a curved pattern on the face include Agents 145, 147-3, 149-1, and 151-2.
Though there are Moche images of individuals with "fox" headdresses, a Nasca antecedent is more likely (106-5).
Agent 374-1 is a miniature figurine that wears a distinctive feline headdress and holds two objects.
Agent 106-9 from 1942 Julio Tello’s Conchopata excavations. Photography sponsored by William H. Isbell and supervised by Gonzalo Rodriquez at the Archivo Tello del Museo Nacional de Arqueología, Antropología e Historia del Perú. An example of a Robles Moqo style vessel from Pacheco that supports the hypothesis that these vessels belong to a Conchopata style that was exported to Pacheco.
MAP
REFERENCES:
106-1     Ocucaje site, Ica Valley    Phoebe A. Hearst Museum of Anthropology 4-4556 ;    Knobloch 2003 photo ;    Uhle 1913:Fig.4 ;    Menzel 1977:Fig.130 ;    Knobloch 1989:Fig.15;     Kaulicke 1998:262
106-2     No provenience    Metropolitan Museum of Art, 1977.376;     Andre Emerich Gallery 1966:Fig.6
106-3     No provenience    Museo Nacional de Arqueología, Antropología e Historia, Lima C-54786;    Knobloch 2012:136, Fig. 116;     Lavalle 1984:159;     Christopher Donnan photo
106-4     Pikillaqta site, Cuzco     Reassigned to figurines, see Agent 374-1
106-5 (Nasca antecedent)    Cahuachi A, Grave 1     Kroeber 1998:Fig.173
106-6     Conchopata     Field photos and drawings courtesy of William H. Isbell and reconstruction by Knobloch 1999
106-7     Conchopata     Not shown, see Mancilla 2012:124. Field photos and drawings courtesy of William H. Isbell and reconstruction by Knobloch 1999
106-8     Conchopata     Field photos and drawings (far right) courtesy of William H. Isbell and reconstruction by Knobloch 1999     Close-up drawing
106-9     Conchopata    1942 excavations, Archivo Tello del Museo Nacional de Arqueología, Antropología e Historia del Perú. Photo courtesy of William H. Isbell (2003).
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AGENT: 107

As only a profile face depiction, Agent 107-2 is a secondary figure on the Atarco style urns described with Agent 105. The distinguishing attribute is the mouth to cheek motif. The motif extends the lip band onto the cheek where it divides into two or three finger-like bands that end in white tips either round or pointed. The hat can be bi-colored with a head band of circular or rhomboid elements. None of the examples are complete enough to indicate a role, though the Atarco example suggests a warrior status.
Agent 107-1 is a 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 similar to Agent 142. The face has distinctive mouth markings as points that extend from the corners of the mouth onto the cheek.
Ann Pollard Rowe (1979) provides an insightful analysis of Wari style textiles that depict agents as musicians. Agent 107-3 appears to hold a spear in one hand while blowing an animal-head trumpet (or whistle*) held in the other hand (Rowe 1979:10-11, Figs 7, 10) and there is a bird at his shoulder.
Agent 107-4 is a remnant of a exquisite textile showing the lower profile face positioned at the back of a profile deity.
Agent 107-5 shows the most detail of the elaborate facial painting. The vessel shows similarities to the Pachacamac style effigy vessels (see Schmidt 1929:Tafel III-2).
Agent 107-6 also displays the pointed lip bands and a headdress somewhat similar to Agent 107-5 including a feathered top hat extension above a bulging dome shape. This headdress example is also similar to Agent 129-3 which makes determining the identity of Agent 107-6 somewhat questionable though facial markings are more permanent ethnic markers than hats.
Agent 107-7 occurs on a tapestry fragment in the Cotsen Textile Traces Study Collection T-3012, courtesy of The George Washington University Museum. It matches a fragment excavated at Huaca Malena in the Asia Valley. This narrative tapestry includes Agents 100-6, 104-12, and 108-5. This example is similar to 107-1.
*Morell, Virginia - Empires across the Andes National Geographic June,2002:106-119 - See Kenneth Garrett's photo, p.107, of fox-head whistle found at Conchopata. Also, Agent 147-6 of Atarco double chambered bottle with agent blowing an animal head trumpet.
MAP
REFERENCES:
107-1    Conchopata     Isbell and Knobloch 2009:Fig.25    Laboratorio de Arqueología, Universidad Nacional de San Cristóbal de Huamanga 'decapitate head at left'    William Isbell 1999 photos
107-2 (copy 1)    No provenience     Anton 1962:Fig.107
107-2 (copy 2)    No provenience     Flagel 1929:Planche I ;    Kelemen 1946:Pl.164a
107-2 (copy 3)    No provenience     Museo Regional de Ica "Adolfo Bermudez Jenkins", MRI-00178-01;     Zuidema 1972:Fig.2, 3;     Salazar Bondy 1964:32 (back only);     Lumbreras 1990:204;     Larco Hoyle 1966:Fig.106
107-3    No provenience Textile Museum 1962.30.1;    Rowe, Ann P. (1979:Figs. 7, 10) ;    Anton 1962:Fig.141
107-4    Trancas valley, Nasca Phoebe A. Hearst Museum of Anthropology 4-9061;     O'Neale and Kroeber 1930:Pl.14a
107-5    Cajamarca region    private collection    Watanabe 2001:Fig.8
107-6    Cajamarca region    private collection    Watanabe 2001:Fig.9
107-7     Huaca Malena site, Asia Valley     Tapestry Fragments.
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AGENT: 108
As a profile head, all listed Agent 108 examples are depicted in association with other agents. The primary identification attribute is the horizontal dentate pattern across half the face. The hat is a rather simple cap. (see Hearst 4-4556)
As mentioned with Agent 103, the Conchopata style urn depicts the profile heads with the tongue hanging out. See: 103-7, 109-3, 123-1, 124-1, 125-1 156-1 and 157-1.
On the textile, Agent 108-4 and Agent 100 profile heads sit atop a peculiar motif that may be an insect, internal organs or plant. Joyce Hulbert (2005 in press paper. "Evidence of the Individual in the Cultural Material of Tapestry") suggested the motifs might be butterflies with chrysalis motifs along the edge of the textile to represent a death and rebirth theme.
Agent 108-5 (TM T-3012) occurs on a tapestry fragment in the Cotsen Textile Traces Study Collection T-3012, courtesy of The George Washington University Museum. This narrative tapestry includes Agents 100-6, 104-12, and 107-7. It matches a fragment excavated at Huaca Malena in the Asia Valley. This textile example is more evidence that Agent 108 had coastal origins and was a significant though foreign participant in Wari affairs.
MAP
REFERENCES:
108-1    Ocucaje site, Ica Valley    Phoebe A. Hearst Museum of Anthropology 4-4556     Knobloch 2003 photo ;    Uhle 1913:Fig.4 ;    Menzel 1977:Fig.130 ;    Knobloch 1989:Fig.15 ;    Kaulicke 1998:262
108-2    Chimu Capac site, Supe Valley    Phoebe A. Hearst Museum of Anthropology 4-7700     Knobloch 1988 photo (textile from Chimu Capac with Agent 103)
108-3    Conchopata site, Ayacucho     Kaulicke and Isbell 2001:cover;     Knobloch 1999     Photos courtesy of William H. Isbell
108-4    No provenience    Lavalle 1989:cover ;    Reid 1986:Plate 33
108-5    Huaca Malena site, Asia Valley     Tapestry Fragments.
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AGENT: 109
Very distinctive from other Wari agents by having facial piercings for multiple ear rings, nose ring and labret. The cap is simple and usually displays a pointed object stuck (feather?, projectile point?) in the headband in the center of the forehead. Agent 109-1 documents coca chewing and shows that this agent wore little clothing. As mentioned with Agent 108, the 109-3 example on the Conchopata style urn depicts the profile heads with the tongue hanging out. See: 103-7, 108-3, 123-1, 124-1, 125-1, 156-1 and 157-1.
Head jars of Agent 109-4 were found at San José de Moro - funeral house M-U1045 - associated with numerous Cajamarca style bowls and spoons. Perhaps Agent 109 represents a Cajamarca ethnicity that may explain the cultural distinctions with other Wari agents. Though Agent 109-8, 10, and 11 have no provenience, double-spout, strap handle bottles originate with the central coast Pachacamac style and south coast Atarco style workshops.
Ethnic integrity continued into MH 4 on Agent 109-16 at a north coast location close to the Cajamarca heartland. The independent and itinerant nature of Agent 109 is indicated by depictions on non-Wari style pottery. Agent 109-14 occurs on a late Moche blackware effigy jar (Moche, Site A) housed at the Hearst Museum. And another indication of a well established ethnic identity is Agent 109-15's depiction on a Chimu blackware vessel. Thus, Agent 109 ethnic identity continued long after the Middle Horizon and survived the collapse of the Wari Empire most likely due to origins beyond the Wari heartland such as Cajamarca.
UPDATE: Rather than Agent 109 representing a Cajamarca ethnicity, another possible event is being proposed here. The event focuses on the probability that the ethnic identity of Agent 109 represents the Huancavilcas of Ecuador.
Who were the Huancavilcas? Wari Spondylus Trade Partners
MAP
REFERENCES:
109-1    Ancon Site P (Grave 17), Ancon district     Phoebe A. Hearst Museum of Anthropology 4-6033     Knobloch 2003 photo;    Menzel 1977:Fig.107;     Bruhns 1994:Fig.14.12
109-2    Huari site, Ayacucho     Cook 1985:Fig.24a
109-3    Conchopata site, Ayacucho     Kaulicke and Isbell 2001:cover;     Knobloch 1999     Photos courtesy of William H. Isbell
109-4    San Jose de Moro site, Jequetepeque Valley     Programa Arqueológico San José de Moro, Temporada 2004:81, Fig. 52-55, M-U1045
109-5    Pachacamac site, Lima     Ethnologisches Museum der Staatlichen Museen zu Berlin, V A 49503     Knobloch 1985 photo (doublespout bottle)
109-6    Pachacamac site, Lima     Museo Hipoólito Unanue, Ayacucho     Knobloch 2015 photo (doublespout bottle)
109-7    Nazca region    British Museum Am1982,Q.957 (doublespout bottle)
109-8    No provenience    Museo Nacional de Arqueología, Antropología e Historia, C-54789     Knobloch 2012:Fig.111
109-9    No provenience    Museo Larco ML018934
109-10    No provenience    Museo Chileno de Arte Precolombino 0545 (doublespout bottle)
109-11    No provenience     MET Museum 67.167.39
109-12    Huacho region     Emmerich 1971:Fig.53
109-13    No provenience     Gardiner Museum, Toronto G83.1.318
109-14    Moche site A, Trujillo    Phoebe A. Hearst Museum of Anthropology 4-2564b    Huaca del Sol. Knobloch 2002 photo.
109-15    No provenience (Chimu culture)     Ethnologisches Museum der Staatlichen Museen zu Berlin, V A 4075 Chimu blackware style
109-16    Castillo de Huarmey     Prümers 2001:299, Fig. 9 Pacanga style, Middle Horizon Epoch 4
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AGENT: 110
Primary attributes are a bi-colored hat shaped like an upside down bowl usually topped with feather-like, decorative straight rim. The face is painted with curving bands (usually around the eye(s)) and/or straight band elements. Above one eye the band has three angular points each embedded with triangle elements all of which point upward. There are other agents that also display facial bands with attached angular points embedded with triangle elements, such as: 132-6 (that occurs on the exterior side of this same sherd), all Agents 145-5, 147-3 148-1, 149-1, 151-2, and 155. Agent 110-1 wears a rather simple tunic of geometric tocapus that are similar to Tiwanaku patterns (see Knobloch 2000a for analysis) and may be grasping a horn shaped trumpet in the left hand. In the right hand, Agent 110-1 holds a shield with a simplified image of a full bodied anthropomorphic image standing with legs apart and both arms raised above the head. His role may be one of an harbinger. This trait is also supported by Agents 110-3, 8, 9 and 10.
Agent 110-3 is a captive with hands tied, so the shield with anthropomorphic image appears as a part of the tunic.
Agent 110-4 is another captive version with arms tied behind back and held upside down by a Profile Deity on a 'Tello ofrenda' style Conchopata urn. As depicted in 110-4, the narrative of this captive is one of three captives (Agents 140-1 and 132-4) associated with an alternating pattern of belted Staff God and Profile Deity. The layout does not represent a the pattern of a central Staff God flanked by attendant Profile Deities as carved into Tiwanaku's Gateway of the Sun. His accessories include earspools, necklace, armbands and anklets. Depicted wearing only a leg-wrapped loincloth (eg., subligaculum) with a red and white striped hem.
Agent 110-6 is a head jar with more details of the hat with circular elements within the bicolored panels. This detail appears on both Agent 110-5 and Agent 110-7.
The anthropomorphic images associated with Agent 110-3 and 107-7 have the supernatural design elements of divided eyes as well as banded rays on the limbs yet both appear to have been stripped of possible staffs and clothing.
Agent 110-8 is represented by two matching effigy bottles. The tunic represents Susan Bergh's (1999) Type 01 style tunics. (See Cleveland Museum of Art (clevelandart.org), J. H. Wade Fund 2005.53) with very elaborate vertical panels of avian profile deities as occur in the Southern Andean Iconographic Series. Agent 110-8 grasps an axe in the right hand and in the other a shield with a simplified image of a full bodied anthropomorphic figure standing with legs apart and both arms raised above the head similar to Agent 110-1, 110-3 and 110-9.
Agent 110-9 is a three dimensional, hollow ceramic figurine bottle. The headdress is more elaborate that Agent 110-1 with the sides flanked by curved wing-like flaps, but the facial designs are almost identical. This agent also holds a shield with a sprawled out, anthropomorphic figure in the left hand. He is blowing on a panpipe held by the right hand and this may indicate what 110-1 is holding in his left hand, ie., a whistle.
Agent 110-10 is a Pachacamac style version of this agent (as is Agent 110-5) and overall design is more stylized. The vessel still displays the block head shaped Staff God head on its chest suggesting a continued agency of harbinger.
The agency of holding shields with such human images is a powerful message but ambiguous: Is the image one of an ethnic group that was made defenseless? Is the image a warning of what an enemy can expect from conflict? Is the image one of cooperative diplomacy to engage the "other" into an allegiance?
This agent displays another version of a curving facial design with triangular elements above the eye as seen on Agents 106-8, 132-6, 132-7, 145, 147-3, 148-1, 149-1, 151-2 and 162.
MAP
REFERENCES:
110-1    Huari site, Ayacucho     Museo Nacional de Arqueología, Antropología e Historia William H. Isbell 1974 photo;     Knobloch 2001:Fig.11b
110-2    Huari site, Ayacucho     Wagner 1981:Fig.A11A
110-3    No provenience     Private collection Knobloch 2010:207, Fig.17, fourth captive agent located in bottom right corner     Closeup
110-4    Conchopata site, Ayacucho    Museo Nacional de Arqueología, Antropología e Historia    Knobloch 2009 reconstruction drawing
110-5    No provenience     online auction site, Pachacamac style
110-6    No provenience     Lapiner 1976:237, fig.546
110-7    Pachacamac site     Ethnologisches Museum der Staatlichen Museen zu Berlin, V A 49565     Knobloch 1985 photo (effigy jar)
110-8    No provenience Museo delle arti decorative, Milan     Image available on cover of exhibition book by searching Amazon.com for: Le Culture Del Peru Da Chavin;    Knobloch 2013:47, Fig. 6
110-9    Huari Private collection    William H. Isbell photos of 2 similar figurines
110-10    Chimu Capac Site (Grave 5), Supe Valley Phoebe A. Hearst Museum of Anthropology Portal: enter 4-7631
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AGENT: 111
Found only at Azangaro.
MAP
REFERENCES:
111-1    Azangaro site, Ayacucho     Anders 1986:Fig.7.53a
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AGENT: 112
As a profile head, Agent 112-1 on the Ica textile represents this agent located above Agent 100. Agent 112-1 is also distinquished from other agents on the textile by having a red face. Due to the limited space along the horizontal band, there is no indication of a pointed helmet like 112-2, however there are the horn-like attachments that project out from both sides of the hat Hearst 4-4556
After years of reconstruction, a Conchopata urn now displays 7 Agents that include: 100-14, 100-15, 101-4, 106-6, 106-7, 106-8, 112-2, 118-1, 132-6, 132-7, 148-1. The depictions indicate warrior confrontations involving Agent 112 with Agent 100 and with Agent 101. There is a naked female splayed out on the urn's interior with baby jaguars at her nipples. It is difficult to determine if the jaguars are merely suckling and nibbling. There are recent accounts of Amazonian tribes in which women suckle baby monkeys. The intensive narratives depicted on both sides of the urn may indicate its main use as disseminating information rather than food storage and ceremonial rather than quotidian. Agent 112-2 on the urn's exterior has a trophy head hanging at the chest, club and round shield. Distinguishing attributes are a conical, grey-colored hat with pointed projections - possibly horns - and a tunic that appears to be made from a feline pelt. The contrast in clothing between Agent 100 in finely woven tunic with 4-cornered hat and Agent 112-2 in fur shirt and horned helmet (think Viking) definitively indicates distinct ethnic origins. One clue for Agent 112's ethnicity is the recent trove of silver and gold accessories found at Cutervo, Peru.
La Republica, 27 abril 2017
Though there was no associated pottery to stylistically date the material, one of the silver plaques had a relief image of Agent 103. On that same day, this identification of a stylistic marker for Middle Horizon Wari culture was emailed to Luis Jaime Castillo who passed it on to the director of the Cajamarca branch of the Ministerio de Cultura. Also included were two conical, silver objects that may represent hats like Agent 112 depicts. These objects may confirm an Amazonian affiliation to both Agents 103 and 112-2.
MAP
REFERENCES:
112-1    Ocucaje site, Ica Valley     Phoebe A. Hearst Museum of Anthropology 4-4556;   Knobloch 2002 photo; ;    Uhle 1913:Fig.4 ;    Menzel 1977:Fig.130 ;    Knobloch 1989:Fig.15 ;    Kaulicke 1998:262
112-2    Conchopata site, Ayacucho     Ochatoma and Cabrera 2002:Fig.8.11B     combined with: Field photos and drawings courtesy of William H. Isbell and reconstruction by Knobloch 1999 ;    Tung 2012:118, Fig.5.6
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AGENT: 113
There are several agents that display 'tear bands': a cheek design that represents a band attached to the lower eyelid. Found only at Azangaro.
MAP
REFERENCES:
113-1    Azangaro site, Ayacucho     Anders 1986:Fig.7.54c
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AGENT: 114
Depicted on pottery in the less fancy Viñaque style, the sherd examples are not as detailed. There are many sherd examples at the site of Huari whereas only one found at Azangaro; all from parts of the face and headdress. Agent 114's hat is depicted on the straight rims of effigy jars and appears to be a crisscrossing of white fibers on a red background rather than woven textile threads; perhaps made from reeds or straw. Thus this agent's hat is rather unique compared to other agent head apparel that appear to be made of patterned textile headbands. There are several agents that display 'tear bands': a cheek design that represents a band attached to the lower eyelid. Agent 114's face is painted on the cheeks with two red tear bands. Agent 114 is local to Huari and given the quality of representation, most likely represents a lower status of Wari society in the heartland.
MAP
REFERENCES:
114-1    Azangaro site, Ayacucho     Anders 1986:Fig.7.55d
114-2+    Huari site, Ayacucho     Yale Peabody Museum of Natural History, Division of Anthropology YPM ANT 212425     Knobloch, Isbell, Fullen, Zegarra 2013 photo; Other sherds found at Huari in Bennett 1951 Collection: (Pit/level) 2 Surf, 2A, 2P, 8E, 8H, 9B, 11F, 13A, 13C, 15 Gen, 15C, 15F
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AGENT: 115
Agent 115-1 is a sherd fragment of a modeled head found at Azangaro site. The hat is a plain straight-rimmed cap. The distinctive attributes are the horizontal tattoo-like bands that run across the lower face. One band is an fret pattern and runs from cheek to cheek between the nose and upper lip. Below the mouth the bands vary with more curvilinear linked hooks or zigzag lines.
Agent 115-2 is represented by two duplicate effigy bottles. The figures show distinct female features of breasts, vagina and two braids of hair that divide at the back of the neck and drape over the shoulders. The body is filled with creature motifs that appear to be attacking the individual. The vessels are decorated with humpbacked animals, the ventral animal, possible dogs, a snake-like creature and birds. The ears are pierced either to have held earrings - now gone - or to represent earplugs. There are design details that made this author doubt the vessels authenticity. However, these bottles can be identified as Viñaque based on a sherd (115-3) excavated at Huari by Christina Brewster-Wray (1990) that matches the back area with humpbacked animal, ventral animal, and dog (?) (see Cook 1994:Lám.35a - image was published upside-down).
Another effigy vessel of Agent 115-4 is also most likely a female representation. Based on numerous images of Wari style females, the hair is typically parted in the middle of the forehead as it is here. It countinues into two braids that separate at the back and hang down the shoulders. The face displays the bands of tattoo like designs (interlocking fret). In general the vessel depicts a sleeping individual who guards a smaller, wide-awake individual (perhaps a child) that is being attacked from behind by a feline (jaguar). This feline captor narrative also occurs on Moche vessels as documented by Elizabeth Benson (1974 A Man and A Feline in Mochica Art). Remarkably, this association presents an astounding comparison with a very similar vessel (as though they were made from the same mold) published by Otto Klein (1967) that was excavated at Vicús (northern Peru). This Agent 115-5 appears to have similar decoration, including the band of linked curves filled with dots that occur between the knees and feet.* However, due to the published photo's low resolution, the faces do not appear to have designs. This vessel is more complete with the head of the feline. Klein points out that the figure's cheek is bulging and deduced that the sleep was caused by chewed coca. He suggests that the lower face represents a trophy head, but I disagree since the expression is obviously not one of a dead person.
Whatever the cause of having a Wari vessel occur so far north (in excavation), only adds to the growing evidence of distant contacts into northern Peru and Ecuador.
*Bands with filler dots that represent a pattern in an agent's clothing (possible tunic) were found in Brewster-Wray's excavation and occurred on the base sherds of an effigy vessel including similar feet protruding from the bottom edge (Cook 1994:Lam.23a,b,c).
MAP
REFERENCES:
115-1    Azangaro site, Ayacucho     Anders 1986:Fig.7.57a
115-2    No provenience     Dallas Museum of Art, 1976.W.217;     Knobloch 2012:Fig.120
115-3    Huari site, Ayacucho     Cook 1994:Lam.35a
115-4    Huari site, Ayacucho     Ministerio de Cultura, Ayacucho Knobloch 2015 photo
115-5    Vicús site, Piura     Klein 1967:36-44, Figs. 21, 25 (search amazon.com for photo of cover: "La Ceramica Mochica. Caracteres Estilisticos y Conceptos")
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AGENT: 116
Found only at Azangaro.
MAP
REFERENCES:
116-1     Anders 1986:Fig.7.53 (not lettered)
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AGENT: 117
The distinctive attributes of Agent 117 are somewhat similar to Agent 115 in that the lower half of the face is decorated with one or two bands of thin black line designs that appear to be tattoos. The band designs are a line of hooks either hanging from above or curving upward from the jawline. The headdress includes a plain straight sided cap with an apparent bi-colored, banded cowl across the top and down the back (or sides) - most likely a textile. 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 possible lyre cup (though the drawing suggests a straight sided bowl from a 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 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.
For those who drank from the lyre cups, the associaton of Agents 103 and 117 may narrate an agency of commemorating their union. Furthermore, the thin black line designs that may be tattoo bands across the lower half of the face are similar to those of Agent 115, a female, and therefore suggests that Agent 117 may represent a female in a marital union with Agent 103 (see Nash, Donna 2015).
Agent 117-8 provides a full depiction on an effigy bottle. The vessel has fragments and holes that indicate that it was a double-chambered, whistling bottle with strap handle. As modeled, the cowl is depicted as a corona-like headdress crossing the top of the head from shoulder to shoulder and sets half-way back on the plain white, straight-sided cap. Agent 117-8 wears a two strand necklace most likely of sequins. The tunic depicts the interlocking hook pattern found on tie-dye textiles, including those that do not have the embedded tie-dyed circles (Rowe, Ann Pollard 2012:199, Fig.190). If a female, then some tie-dyed tunics may be female gendered clothing.
MAP
REFERENCES:
117-1    Pachacamac site, Lima    Ethnologisches Museum der Staatlichen Museen zu Berlin, V A 49191     Knobloch 1985 photo (tumbler)
117-2    Pachacamac site, Lima    Ethnologisches Museum der Staatlichen Museen zu Berlin, V A 49138     Knobloch 1985 photo (dish/open bowl)
117-3    San Jose de Moro site, Jequetepeque Valley     Castillo 2000:Fig.14, second row, right; Fig.15 bottom, left (lyre cup/vertical sided cup)
117-4    No provenience     Knobloch 2010:204, Fig.13 (lyre cup with vertical chevron band dividers)
117-5    Nasca region     Museo Larco ML010484 (lyre cup);     Banco de Crédito del Perú 1984:128, bottom figure.
117-6    Nasca region     Museo Larco ML035565 (lyre cup)
117-7    Huari site, Ayacucho     Spielvogel 1955: Pl.44, fig. 2
117-8    No provenience     Peabody Museum of Archaeology and Ethnology at Harvard University, enter 32-30-30/64
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AGENT: 118
Only found on exterior rim band of a Conchopata urn. May be related to Agents 115 and 117 with similar, two-part headdress of feathers and possible tattooing of fine, black line, design bands across lower half of face.
After years of reconstruction, a Conchopata urn now displays 7 Agents that include: 100-14, 100-15, 101-4, 106-6, 106-7, 106-8, 112-2, 118-1, 132-6, 132-7, 148-1. The depictions indicate warrior confrontations involving Agent 112 with Agent 100 and with Agent 101. There is a naked female splayed out on the urn's interior with baby jaguars at her nipples. It is difficult to determine if the jaguars are merely suckling and nibbling. There are recent accounts of Amazonian tribes in which women suckle baby monkeys. The intensive narratives depicted on both sides of the urn may indicate its main use as disseminating information rather than food storage and ceremonial rather than quotidian.
MAP
REFERENCES:
118-1    Conchopata site, Ayacucho     Isbell and Cook 2002:Fig.9.13;        Knobloch 2000 Field photos and drawings courtesy of William H. Isbell and reconstruction by Knobloch 1999
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AGENT: 119
Found only at Azangaro.
MAP
REFERENCES:
119-1    Azangaro site, Ayacucho     Anders 1986:Fig.7.54a
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AGENT: 120
There are several agents that display 'tear bands': a cheek design that represents a band attached to the lower eyelid. Found only at Azangaro.
MAP
REFERENCES:
120-1    Azangaro site, Ayacucho     Anders 1986:Fig.7.55j
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AGENT: 121
REMOVED 2/2/2022
MAP
REFERENCES:
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AGENT: 122
Depicted on the body of a large, wide mouthed jar with straight flaring rim. Field drawing depicts Agent 122 as a warrior with rectangular shield in one hand and a staff-like weapon raised up in the other. The end of the staff appears embedded with three curved blades on two sides. The headdress is apparently a very fancy, textile headband. The band is edged with black and white zigzags bands above and below a wider band of panels of red and orange motifs. The motifs alternate between a simple anthropomorphic face and two lazy-S elements. The field drawing does not show this pattern of alternating motifs. The field drawing also indicates two white lobes protuding from the sides of the headband. This type of appendage occurs on Agent 105 with south coast origins, thus could indicate a Pacheco origin for this agent. From sherds, the head apparently was a modeled face with a painted body on the vessel. The face is divided into 4 equal quadrants of red and blue. A short white curved line occurs on the chin just below the mouth. The modeling of the face is identical in its execution to the Robles Moqo style effigy jars of Agent 100. Sherds were found at Conchopata in 1977 and 2000, therefore duplicate vessels. This agent also occurs at Maymi according to personal letter from Martha Anders (1988) and awaiting publication.
MAP
REFERENCES:
122-1    Conchopata site, Ayacucho     Knobloch 1999 photo
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AGENT: 123
Displayed on oversize urns from Conchopata with several other profile agent heads. See: 103-7, 108-3, 109-3, 124-1, 125-1, 156-1 and 157-1.
Agent 123-1 has a distinctive stepped pattern that runs diagonally from side of forehead to chin dividing the face into two contrasting colored fields. Agent 123-2 has a similar pattern though the stepped line runs from front of forehead to earlobe. The cap has a pattern of several rows of colored circles.
MAP
REFERENCES:
123-1    Conchopata site, Ayacucho     1999 photo courtesy of W H Isbell;    Isbell 2000:Fig.16, left;     Isbell and Cook 2002:Fig.9.13
123-2    No provenience    Textile Museum (1959.10.1);    Bird 1965:Fig.24   Lapiner 1976:Fig.553.
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AGENT: 124
Displayed with other bodiless, profile heads on oversize urns from Conchopata in Ayacucho, Peru. See: 103-7, 108-3, 109-3, 123-1, 125-1, 156-1 and 157-1.
Agent 124-1 displays a fancy headdress that is apparently made from a feline pelt and tied with a textile headband. The C-shape and dot filler elements of the pelt represents a jaguar's pelt and often used on pendent rectangle motifs known as Wari tocapus (see: tocapu T105 ). The headband displays a band of lazy-S design elements with it bunched up at the back of the head like a bun and tied at the forehead where there are two white projections. It would appear that the headband was a strip of white cloth with a hem of a red band with different colored Lazy S design elements that was twisted before being tied to the agent's head. The only other example of another agent with a jaguar pelt headdress occurs on the Conchopata Staff God and Profile Deity urns that resemble those excavated by Julio C. Tello in 1942. Here, Agent 150 is a captive of the beltless Staff God. However, the headdress displays a medallion with feathers at the back and markings on the face, so this example may be related but not the same agent.
MAP
REFERENCES:
124-1    Conchopata site, Ayacucho     1999 photo courtesy of W H Isbell;     Knobloch 1999 (field slide);     Isbell 2000:Fig.16, right     Photos courtesy of William H. Isbell
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AGENT: 125
Displayed with other bodiless, profile heads on oversize urns from Conchopata in Ayacucho, Peru. See: 103-7, 108-3, 109-3, 123-1, 124-1, 156-1 and 157-1.
Agent 125-1 wears a headdress that is apparently made from rather stiff material such as vegetable fibers in order to sit upright yet with flexible, incurving sides; perhaps like a woven mat material. The hat is decorated with bands of repeating design elements similar to the tattoo patterns of running frets and repeating hooks as seen on Agents 115 (though not interlocking frets) and 117. There are several agents that display 'tear bands': a cheek design that represents a band attached to the lower eyelid. Agent 125's tear band is a simple red band. Of interest is the following observation, "El tocado del personaje central recuerda a los tocados de cester a procedentes de Huaca Malena" by Rommel Angeles Falcón (2017:306, Figura 26) "Tocados del Horizonte Medio al Intermedio Tard o en la costa central: Una visi n desde el valle de Asia, Per  (Siglos VII-XII d.C.)". PreColumbian Textile Conference VII / Jornadas de Textiles PreColombinos VII. 20. http://digitalcommons.unl.edu/pct7/20
MAP
REFERENCES:
125-1    Conchopata site, Ayacucho     1999 photo courtesy of W H Isbell;     Knobloch 1999;     Isbell 2000:Fig.16, middle     Photos courtesy of William H. Isbell
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AGENT: 126
Oversize face-neck jar (about 1 m in height) from Conchopata site, Ayacucho, Peru. This depiction of Agent 126 was produced in the less fancy Viñaque or Huamanga style workshop and, therefore, the ethnic details are less pronounced. The front body of the vessel depicts two rectilinear panels demarcated by a band of interlocking step-frets within each is an avian profile head that face each other.
Agent 126-1's face is not decorated and the headdress displays a row of white circles on a black band at the very top, all of which appears to be tied down by a white cord under the chin.
MAP
REFERENCES:
126-1    Conchopata site, Ayacucho     Isbell 2000:Fig.21D;     posted image;     Isbell and Cook 2002:Fig.9.17
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AGENT: 127
There are several agents that display 'tear bands': a cheek design that represents a band attached to the lower eyelid. This agent's distinguishing attribute is the double dart tear band on the cheeks. He also wears a hat with a rimband of white diamonds or dots. Two double chambered vessels depict Agent 127-1 and 3 in a four cornered hat. On the 127-1 bottle, the upper surface is divided into two rows of panels (approximately 8) filled with a fine line double headed serpent figure either in red or black.
The Agent 127-2 is a Huari sherd that replicates this motif indicating a duplicate vessel - both in the Atarco style.
For more information on these hats and how to make the Wari version that adds pile threads see: 4-Cornered Pile Hats
Agent 127-4 is depicted on a double-handled bowl in the Epoch 2 Viñaque style (similar to Agent 134-1).
MAP 		Under Construction
REFERENCES:
127-1    No provenience     Lapiner 1976:249, Fig.576
127-2    Huari site, Ayacucho    Yale Peabody Museum of Natural History, Division of Anthropology YPM ANT 211715    Knobloch, Isbell, Fullen, Zegarra photo 2013;     Bennett 1953:Pl.9N
127-3    Ica-Nasca region     Menzel 1968:Fig.48 Atarco A style, Carlos Soldi collection
127-4    No provenience     Peabody Museum of Archaeology and Ethnology at Harvard University, enter: 32-30-30/69;    Bawden and Conrad 1982:79, lower left figure
127-5    Pachacamac site, Lima    Ethnologisches Museum der Staatlichen Museen zu Berlin, V A 49515     Knobloch 1985 photo (retrato bottle)
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AGENT: 128
There are several agents that display 'tear bands': a cheek design that represents a band attached to the lower eyelid. Agent 128 has tear band with interior bands that curve toward the ears and end in a human fist with palm, three fingers and thumb. The headdress is a simple headband with a wavy line dividing filler dots. (see Hearst 4-4556)
MAP
REFERENCES:
128-1    Ocucaje site, Ica Valley     Phoebe A. Hearst Museum of Anthropology 4-4556;   Knobloch 2002 photo; ;    Uhle 1913:Fig.4 ;    Menzel 1977:Fig.130 ;    Knobloch 1989:Fig.15 ;    Kaulicke 1998:262
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AGENT: 129
There are several agents that display 'tear bands': a cheek design that represents a band attached to the lower eyelid. Agent 129-1 has a simple band for a tear band. The headdress is a simple band with rows of dots, perhaps shells or sequins. (see Hearst 4-4556)
MAP
REFERENCES:
129-1    Ocucaje site, Ica Valley     Phoebe A. Hearst Museum of Anthropology 4-4556;   Knobloch 2002 photo; ;    Uhle 1913:Fig.4 ;    Menzel 1977:Fig.130 ;    Knobloch 1989:Fig.15 ;    Kaulicke 1998:262
129-2    Pachacamac site     Uhle 1935:Fig.19
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AGENT: 130
Most often found on Robles Moqo style (Epoch 1B Wari style) face-neck jars from Pacheco site. Distinguished by a white headdress of simple horizontal bands and a light colored tunic with fine vertical stripes. Black and white photos of Agent 130-1, 2, 3, 4, 7 and 8 do not provide resolution to determine details as well as the Agent 130-6 color publication. Agent 130-6 indicates that the hat may have thin red zigzag lines that form a diamond pattern around the headdress. The 'top hat' spout are diagonal step frets in alternating colors of black with white or red. The face is asymmetrically painted with a red step band leading down from the top of the nose to the effigy's right chin and on the effigy's left side are two tear bands outlined in black with a step on one. There appears to be some modern reconstruction that may have changed some of these details. The tunic's vertical stripes are red, dark orange and grey with zig zag stripes at center of back and front and on sides that may indicate sewing of seams. The tunic stripes and diamond pattern in the hat identifies Agent 130-6 as a captor of Agent 103-21 at Huari. It is not clear what is being held in the left hand, but as a captor his status as warrior in this event is implied.
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).
Agent 130-7 has a similar striped tunic but the face is painted with a curved band starting at the tip of the nose, over the eyebrow and curled inward on the cheek. Thus, it may represent another agent category. Agent 130-9 is also somewhat similar in having the hat with horizontal bands as well as bands with the red zigzag lines that are smaller than Agent 130-6 and include filler dots, yet no facial decoration; therefore, may represent another agent.
Unlike most of the agent representations, Agent 130-11 has a facial pattern that duplicates 130-6, the most elaborate example from Pacheco. These two examples also share a white cord-like chin strap and most likely date closely in manufacture.
MAP
REFERENCES:
130-1    Pacheco site     Museo Nacional de Arqueología, Antropología e Historia del Perú (number ?)     Menzel 1977:Fig.129
130-2    no provenience     Coradeschi 1974: Fig.101 (author suggested Huari-Lambayeque culture)
130-3    Pacheco site     Ubbelohde-Doering 1927:Abb.1,   1952:Fig.113 ;    Spielvogel 1955:Pl.100, photo 2
130-4    Pacheco site     Ubbelohde-Doering 1927:Abb.7,8
130-5    Conchopata site     Knobloch 2000c
130-6    Pacheco site     Museo Nacional de Arqueología, Antropología e Historia del Perú C-63067    Glowacki 2013:148, Fig.134 (for color) ;   Lumbreras 1960a:Lám V, fig.L
130-7    Huari site     Cook 1994:Lam.20, d-f
130-8    Pacheco site     Museo Nacional de Arqueología, Antropología e Historia del Perú (number ?)    Von Hagen 1968:Fig.127
130-9    Pacheco site     Metropolitan Museum of Art 1978.412.67    
130-10    Huari site, Ayacucho     Tung 2012:190, Fig.6.20 (Monqachayoq sector, Photo by José Ochatoma)
130-11    La Oroya, Arequipa     Cronos: La Revista de Arqueología (cover) 1(1), 1998 (photo courtesy of Lidio Valdez)
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AGENT: 131
Though representative of a Robles Moqo style (Epoch 1B Wari style), Agent 131-1 effigy bottle was published as associated with vessels from the site of Nievería (now known as "Complejo de Catalina Huanca" (Valdez Velåsquez-López 2015). This vessel has very similar modeling of the face with deeply grooved accentuation of eyelids, nasal edges and cheek definition as well as hands flattened against the body, all as common on those effigy jars from Pacheco. However, the vessel shape has a much narrower spout and the body is spherical whereas the Pacheco vessels have wider spouts and the body tapers from the shoulders to the base. Thus, the vessel was probably not made at the same workshops.
MAP
REFERENCES:
131-1    Nievería site, Lima    Uhle 1910:245, Fig.11    Lumbreras 1974b:Fig.90 ;    Stierlin 1984:Fig.136
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AGENT: 132
This agent has a black cowl headdress (similar in shape to Agent 117-8) held at the front by a red band with white filler dots or white band with red filler dots that crosses from ear to ear above the forehead. Facial markings include tear bands with simple added elements such as points or short horizontal band.
       On an exquisitely detailed jar, Agents 101-6, 132-1 and 137-1 are depicted with various cultivars.       This association suggests that 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 possible trade routes from Jargampata and Azangaro, respectively, into the ceja de selva region. The identification of the oca and tuna are based on similar observations by Yacovleff and Herrera (1934:308, 321, respectively).
Agent 132-4 is a captive hanging upside down from the grasp of a Profile Deity on a 'Tello ofrenda' style Conchopata urn. Depicted wearing only a leg-wrapped loincloth (eg., subligaculum), the red belt is detailed with red +'s within a white diamond pattern. As depicted in 132-4, the narrative of this captive is one of three captives (Agents 140-1 and 110-4) associated with an alternating pattern of belted Staff God and Profile Deity. The layout does not represent the pattern of a central Staff God flanked by attendant Profile Deities as carved into Tiwanaku's Gateway of the Sun. His accessories include earspools, necklace, armbands and anklets.
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 oversize urns (132-4) excavated by Julio Tello in 1942. The narrative may represent 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 in the Epoch 2 Viñaque style (132-5).
After years of reconstruction, a Conchopata urn now displays 7 Agents that include: 100-14, 100-15, 101-4, 106-6, 106-7, 106-8, 112-2, 118-1, 132-6, 132-7, 148-1. The depictions indicate warrior confrontations involving Agent 112 with Agent 100 and with Agent 101. There is a naked female splayed out on the urn's interior with baby jaguars at her nipples. It is difficult to determine if the jaguars are merely suckling and nibbling. There are recent accounts of Amazonian tribes in which women suckle baby monkeys. The intensive narratives depicted on both sides of the urn may indicate its main use as disseminating information rather than food storage and ceremonial rather than quotidian.
Agents 132-6 and 7 are profile heads on the interior and exterior rim band of a Conchopata urn. Though 132-7 face is blank, Agent 132-6 has a nose plug and a facial design that is an elaborate band curving around the eye and mouth with sawtooth points each embedded with triangle elements that point towards the nose and the ear ending in curls at the chin and cheek. It is similar to the descriptions of Agents 106-8, 148-1, 148-2, and 162. Other agents with embedded triangular elements in a band pattern on the face include Agents 145, 147-3, 149-1, and 151-2.
MAP 		Agent 132
REFERENCES:
132-1    Conchopata site, Ayacucho     Laboratorio de Arqueología, Universidad Nacional de San Cristóbal de Huamanga Knobloch 2000c photo
132-2    Conchopata site, Ayacucho     Ochatoma and Cabrera 2002:Fig.8.9D (William H. Isbell photo)
132-3    Pariti island, Lake Titicaca    Korpisaari and Parssinen 2005:Fig.6;    Sagárnaga 2007:Cover
132-4    Conchopata site, Ayacucho     Museo Nacional de Arqueología, Antropología e Historia    Knobloch 2009 reconstruction drawing
132-5    Huari site, Ayacucho     Brewster-Wray 1990:669 - drawing;    Cook 1994: Lam 23f - photo
132-6    Conchopata site, Ayacucho     Field photos and drawings courtesy of William H. Isbell and reconstruction by Knobloch 1999
132-7    Conchopata site, Ayacucho     not shown; see Mancilla 2012:125, bottom row, center. Field photos and drawings courtesy of William H. Isbell and reconstruction by Knobloch 1999
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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. Facial modeling is atypical in having very angular features of a pointed nose and pointed cheeks. Cylindrical hat depicts abstract, interlocking profile feline heads with tufts; also atypical of how such profile heads are depicted. Remnant edges of tunic indicate elaborate designs outlined in white.
MAP 		Agent 133
REFERENCES:
133-1    Huari site, Ayacucho     photo by William H. Isbell 1979
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AGENT: 134
Agent 134-1 is depicted on a double-handle bowl in Epoch 2 Viñaque style (similar to Agent 127-4). Cheeks have elaborate tearbands as fillet-band rays ending in profile feline heads.
Agent 134-2 was excavated at Huari by Christina Brewster-Wray (1990) and is an effigy jar that depicts another version of the four-cornered hat of step-fret tocapus with headband of diamond shapes (see Agents 100-1, 9, 11; 127-1, 3; 146-1).
For more information on these hats and how to make the Wari version that adds pile threads see: 4-Cornered Pile Hats Body sherds indicate the typical frontal, bi-panel fields outlined with bands of interlocking step-frets. Within each field one profile feline deity head faces the center. The head has a stepped nose, divided eye, stepped and curved tear lines as well as a corona with rayed tufts and dotted circles.
MAP 		Under Construction
REFERENCES:
134-1    Huari site, Ayacucho    Museo de Sitio Wari Knobloch 1999/2000 photo
134-2    Huari site, Ayacucho     Cook 1985: 281, Fig.25
134-3    Pachacamac site, Lima     Ethnologisches Museum der Staatlichen Museen zu Berlin, V A 49531     Knobloch 1985 photo ;    Knobloch 1989:Fig.16
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AGENT: 135
Depicted on an ovoid canteen shaped bottle, this agent category remains unknown due to the lack of facial identity. Therefore Agent 135 represents a "holding" place in this database until further evidence becomes available. Also there are two images of different individuals, the other is on the opposite side of the vessel, thus Agent 135A and 135B for present purposes. Both wear elaborate tunics depicting profile animal supernaturals, hold an axe in the right hand (nothing in the left) and stand on a reed boat motif similar to Agent 100-7. Note that the right hand has the fingers above the thumb and is therefore a grasp as though viewed from behind.
Agent 135A has a tunic of vertical bands with full body, avian supernaturals. These tunics represent Susan Bergh's (1999) Type 01 style tunics. (See Cleveland Museum of Art (clevelandart.org), J. H. Wade Fund 2005.53) These supernaturals combine avian head with animal body thereby representing Menzel's 'Pachacamac Griffin' creature.
Agent 135B wears a tunic with vertical bands of supernatural feline profile heads. The heads have a stepped nose and divided eye.
The significance to the wearer of these extraordinary tunics was most likely not only a source of prestige but divine power such that: “…the human wearer helped to focus such symbols of power on himself as a central figure of control and leadership" (Knobloch 1986), “…Wari leaders could embody mythical powers of a central deity” (Knobloch 1989), and “…the wearer would appear empowered by these religious symbols and elevated to a higher social status” (Knobloch 2000).
MAP 		Agent 135
REFERENCES:
135-1    Huari site, Ayacucho    Museo de Sitio Wari Knobloch 2015 photo
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AGENT: 136
This agent does not display many elite articles of clothing except for a bi-colored 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 		Agent 136
REFERENCES:
136-1    Huari site, Ayacucho     Knobloch 1983 field photo
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AGENT: 137

This agent has rather simple facial markings of triangular tearbands, one red and the other gray. The headdress is a round, flat-topped white cap apparently secured to the head by a red band with white filler dots that crosses from ear to ear above the forehead similar to Agent 132-1.
On an exquisitely detailed jar, Agents 101-6, 132-1 and 137-1 are depicted with various cultivars. This association suggests that 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 possible trade routes from Jargampata and Azangaro, respectively, into the ceja de selva region. The identification of the oca and tuna are based on similar observations by Yacovleff and Herrera (1934:308, 321, respectively).
MAP 		Agent 137
REFERENCES:
137-1    Conchopata site, Ayacucho ;    Laboratorio de Arqueología, Universidad Nacional de San Cristóbal de Huamanga Knobloch 2000c photo;    Ochatoma y Pérez 1998:back cover
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AGENT: 138
Reassigned to Agent 373.
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AGENT: 139
Associated with Agent 103 on the Boston MFA textile (139-1) and represented by a small effigy jar (139-2), Agent 139 was apparently involved in warfare or rituals that included decapitation.
Agent 139-1 is full-bodied with profiled head. It is characterized by a simple headdress with a flat top section above a extended horizontal brim that appears to encircle the head. The face is divided horizontally into two bi-colored halves. The tunic appears plain on top, belted with wavy bi-colored band and a lower hem band that depicts a key characteristic of this agent: a fine lined, zigzag of hook elements in black on white. Agent 139-1 displays a closed fist in one hand and in the other holds a staff with Wari cult images - profile avian and feline heads - that typify elements of the Southern Andean Iconographic Series. The unique feature of this staff is the bifurcated, U-shaped filial. See Agent 103 for further discussion.
Agent 139-2 is a modeled effigy jar and fortunately indicates that the rim is not evenly wide, but rather undulates forming four lobes extending out from the corners (but not a four-cornered hat). The face is divided horizontally into two bi-colored halves. A round shield with donut like motif is held in the left hand and, unfortunately, the lower half of a broken staff in the right hand. His warrior status is evident in the numerous filler elements on the tunic that comprise amputated human limbs (4 legs, 5 hands) and 3 decapitated heads. The hem band of the tunic displays a fine lined, zigzag of hook elements in black on white.
MAP
REFERENCES:
139-1    No provenience     Museum of Fine Arts, tapestry panel 1996.50;     MFA tapestry panel 1996.50 on Who Was Who website
139-2    No provenience     Linden Museum, Stuttgart, Germany 119016;    Anton 1962:Fig.109;    Knobloch 2012:137, Fig.118
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AGENT: 140
A captive held at the top of the head by belted Staff Gods on Conchopata style urns as found by Julio Tello in 1942. As depicted in 140-1, the narrative of this captive is one of three captives (Agents 110-4 and 132-4) associated with an alternating pattern of belted Staff God and Profile Deity. The layout does not represent the pattern of a central Staff God flanked by attendant Profile Deities 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). Both have the arms tied in back. Agent 140 has a black cap above a purple headband of yellow diamonds and red dots with two feathers appended to the back of the cap by a red and yellow medallion. Depicted wearing only a leg-wrapped loincloth (eg., subligaculum) with a red and white striped hem. This belt is similar to those worn by the other captives (Agents 110 and 132) on this urn with red +'s within a white diamond pattern. His accessories include earspools, necklace, armbands 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 		Agent 140
REFERENCES:
140-1    Conchopata site, Ayacucho     Museo Nacional de Arqueología, Antropología e Historia    Knobloch 2009 reconstruction drawing
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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, imbedded triangle 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.
Agent 141-1 was painted on a lyre cup as a captive with Agent 103-6.
Agents 141-2 and 141-3 belong to the south coast, Atarco style. The first is an effigy bottle of a sitting agent with all limbs hidden under the tunic. The second is a double-chambered bottle with a similar sitting agent though with hands and the mouth is open suggesting a "whistling jar" vessel.
Agent 141-4 is also an Atarco style effigy jar derived from the Robles Moqo style in terms of eyes and round cap topped by the narrower cylinder mouth of the jar. Elements that typify this agent are the black on white step-fret tunic, face divided vertical in half with contrasting colors of black and red, earspools and a simple, white round cap. The face is remarkable in its expression of bared teeth and very pointed nose. This appearance may indicate a deteriorating infection such as Mucocutaneous Leishmaniasis (ML).
MAP 		Under Construction
REFERENCES:
141-1    Huari site, Ayacucho     Museo de Sitio Wari   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    No provenience     Lavalle 1984:141
141-3    No provenience     Katz 1972:Fig.55
141-4    Quilcapampa, south coast    photo by Johny A. Isla 2015
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AGENT: 142
A simple depiction with little ethnic identity on a profile face painted 5 times around the turban-like hat of Agent-143-9, an effigy head bowl. Agent 142 does not have facial markings and the hat also appears turban-like with a checkered square of four quandrants, similar to Agent 107-8.
MAP 		Under Construction
REFERENCES:
142-1    Sausal site, Chicama     Donnan 1968:Plate XIII, Fig. 6a, b, c
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AGENT: 143
The examples of Agent 143 may represent more than one unique agent since not all clothing features are common or present to determine a consistent representation at this time.
The key attribute of this agent is a moustache and chin beard. On most examples, the chin beard can be recognized in today's terms as a 'soul patch'.
One example from Huari looks remarkably modern (143-1) with a handlebar shaped moustache; however, 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.
Menzel (1964:23, ftnt.105) designated this sherd as an example of the Robles Moqo style that originated at Huari and then spread to the Conchopata site and Pacheco site on the south coast. The facial modeling that determines this piece to be Robles Moqo is a medium sized nose with the accentuated incisions around the nostrils (Also known as thenasolabial furrow), and the delicate replication of the lips including the philtrum indent on the upper lip.
Agent 143-2 illustrates this agent as a possible herder carrying an animal across the shoulders. There are two of these vessels and a fragment of a third duplicate vessel (143-3) was found in Brewster-Wray's excavations at Huari.
Agent 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 constructio near pueblo Huanza, Santa Eulalia - northeast of Lima).
Agent 143-5 is a drawing that shows an effigy vessel that is very similar to Agent 143-2 with a rimmed form headdress of rows of triangles, carrying a llama and stepped areas of squares at the hem of the tunic at the knees. The drawing does not indicate a beard and moustache, but the other attributes are sufficiently similar to assign this example.
Agent 143-6 is a tall bottle with modelled head atop a double lobed vessel body and conical base in the Fancy Chakipampa style of Epoch 1B. The agent has a chin beard and half-circle moustache similar to Agent 102-5; also wears ear spools and there is no other facial design. A very unusual vessel shape indicating a special artisan skill.
Agents 143-7 and 8 are from the south coast, most likely in the Nasca region where Wari's Atarco style originates. Both effigies display the chin beard and half circle moustaches. Agent 143-7 also has simple facial lines that encircle the eyes and curve onto the cheeks. This design is similar to Agent 147.
Agent 143-8 wears a simple striped tunic with a hood that completely covers the head and displays a symmetrical ray design of tripartite rays with a central pointed ray flanked by recurved rays. The motif is similar to those found in the Early Intermediate Period Nasca 7 style (Parsons 1980:298, Fig.452) and borrowed into the Huarpa style (Leone 2004:714, Fig. 11.19) becoming a Wari motif.
Agent 106-3 is also an example of this agent category's moustache design and may be a related or social member within the Agent 143 identity.
Agent 143-9 has a complex facial pattern that combines elements of Agent 127's double-dart tear bands pendent to Agent 100's step frets on one side and on the other a segmented ring around the eye with a pendent hook.
At this point, Agents 143-2, 3, and 5 are the most coherently similar representing herders with 143-4 and 143- 143-6 as stylized versions but retaining the exact same pattern of facial hair in the Nievería and Chakipampa styles, respectively. The other examples may become separate categories with more research.
MAP
REFERENCES:
143-1    Huari site, Ayacucho     Yale Peabody Museum - Bennett Collection from Huari, Pit 10E ANT212062
143-2    No provenience     Lumbreras 2000:28 or figure opposite page 29;    Kauffmann-Doig 1998(middle)
143-3    Huari site, Ayacucho     Cook 1994:Lam 23:a-c
143-4    Calancancha site, Huanza    Kaulicke 2001:328-329, Figs.7 & 9. MH 1B Nievería style.
143-5    No provenience     Anton 1995:47
143-6    Huari heartland     Lumbreras 2000:29 or figure opposite page 28. MH 1B Chakipampa style.
143-7    Nasca region     Museo Larco, Catálogo en Línea, ML031689 (single spout, strap handle bottle)
143-8    Nasca region     Museo Larco, Catálogo en Línea, ML031840 (double chambered vessel)
143-9    Sausal site, Chicama     Donnan 1968:Plate XIII, Fig. 6a, b, c
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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.
Agent 144-1 is a combination of sherds from Bennett's exacavations at Huari. This agent apparently was quite well known in the Huari heartland.
Agent 144-2 is most likely an Epoch 2 Pachacamac style vessel (Spielvogel 1955:26) due to the shape similarities of a sitting agent with legs stretched straight out. As a complete effigy bottle, there is a bi-colored, turban-like cap and a tunic that displays vertical panels of split-face and step-frets that are most similar to Bergh's (1999:745-753) 'Face/Fret Type 03' tunic style designations, two of which have south coast Ica/Nasca proveniences and date to Epoch 2B.
Agent 144-3 is a complete effigy bottle with round body and single spout. The hat is the bottle's rim with two rows of multicolored interlocking steps and the tunic displays four panels with profile heads of supernatural felines(?) that have curious antennae design elements atop the heads.
Agent 144-4 is an example of a late Epoch 1B Chakipampa style Agent 144 jar with the humped animal depicted on the body. The headdress is the bottle's rim with a couple of horizontal bands. A very similar rim example of just the modeled face was found at Conchopata (144-5).
Agent 144-6 is a round bodied, face-neck bottle that was from "el distrito de El Ingenio, la Provincia de Nazca, en el Departamento de Ica" collected in 1958 and currently housed at Ayacucho's Ministerio de Cultura. The rim indicates a simple headdress of bands similar to Agent 144-4 and 5. The body is badly weathered and displays two panels demarcated by bands of fine line interlocking frets. Each panel displays a profile head of a supernatural avian very similar to Agent 126-1. The following sherd from Huari provides a similar motif: Yale Peabody Museum of Natural History, Division of Anthropology YPM ANT 212221.     Knobloch, Isbell, Fullen, Zegarra 2013 photo.

Agent 144-7 is, so far, the most finely modelled example in Wari face-neck jar tradition.
MAP 		Under Construction
REFERENCES:
144-1+    Huari site, Ayacucho     Yale Peabody Museum of Natural History, Division of Anthropology YPM ANT 212101, 104, 011, 223, 287.     Knobloch, Isbell, Fullen, Zegarra 2013 photos - includes 5 sherd examples.
144-2    Pachacamac area, Lima     Harcourt 1950: Fig. 128
144-3    No provenience     Raddatz 1973: Fig.18
144-4    No provenience     Lumbreras 2000:20
144-5    Conchopata site, Ayacucho    William Isbell 2002 personal communication [EA 63, Locus 1636, HE 1144, No. 599]
144-6    Ingenio District de Nasca, Ica     Ministerio de Cultura, Ayacucho MHRA 234 Knobloch 2015 photo
144-7    Huarmey site, Ancash     Makowski 2019:645, Figure 21.11 (photo by Milosz Giersz)
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AGENT: 145
The facial markings of this agent are quite distinctive and consistent. A modular width band (i.e., fillet 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 takes a right angle down ending on the cheek areas with two triangular elements that point towards the mouth. The two triangles are embedded with contrasting triangular elements. There are other agents that also display facial bands with attached triangular points embedded with triangle elements, such as: 110-1, 132-6 (that occurs on the exterior side of this same sherd), 148-1, 149-1, 151-2... All examples are on face-neck bottles with a rim's headband and no appendages displayed on the round vessel body.
Agents 145-1, 2, 3 display headbands that have an interwinding band that forms an apparent interlocking fret pattern. The front body of the vessel depicts two rectilinear panels demarcated by a band of interlocking step-frets within each is a full bodied, avian motif that face each other. Modeling at the the noses indicates nose plugs. These vessels are so similar as to suggest contemporaneity in manufacture.
Agent 145-4 is similar to the above but poorly made with a chevron headband and a double-headed feline motif that stretches across the front with no panel demarcation.
Agent 145-5 is painted with circular filler elements that are common for Epoch 3/4 Wari styles on the coast, whereas the others date to Epoch 2.
All are provenienced to Pachacamac (based on style) which is very significant in determining an ethnic identity for that area.
Agent 145-5 displays another version of a facial band design with triangular elements as seen on Agents 106-8, 110-1, 132-6, 132-7, 145, 147-3, 148-1, 149-1, 151-2 and 162.
MAP 		Under Construction
REFERENCES:
145-1    Pachacamac site, Lima     Bennett 1963 [1944]: Plate 39d
145-2    Pachacamac site, Lima     American Museum of Natural History - Pachacamac B-493
145-3    Pachacamac site, Lima     American Museum of Natural History - Pachacamac B-494;     Olson 1931
145-4    Pachacamac site, Lima     American Museum of Natural History - Pachacamac B-488;     Spielvogel 1955: Pl.96, Fig.2
145-5    Pachacamac site, Lima    Ethnologisches Museum der Staatlichen Museen zu Berlin, V A 49635     Knobloch 1985 photo
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AGENT: 146
In spite of the hundreds of known four-cornered hats, this particular hat design - a rim band of diamonds (due to weaving constraint they appear as angular circles in 146-1) below fret/fret motifs - is surprisingly rare. All the more so since it is stylistically the most common Wari version of a four-cornered hat as shared by Agent 100-1, 9, 11, Agent 127-1, 3 and Agent 134-2. One possible known example is knotted 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).
For more information on these hats and how to make the Wari version that adds pile threads see: 4-Cornered Pile Hats
Agent 146-1 occurred on an exquisite tapestry tunic as one of four, full-bodied captives: Agents 104-8, 110-3, 147-5. All of which wear tunics. This agent's tunic displays simple profile heads of the same supernatural animal, possibly feline. The main attribute is a facial design of a band that loops around the eye with the rounded ends beginning and ending on the cheek. This green band is filled with curved lozenge-shaped red elements.
MAP 		Agent 146
REFERENCES:
146-1    No provenience     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. Both share a similar black cowl or cap with a skull or sunface motif over the forehead. Agent 147 however has additional tufts of feathers(?) or row of feathers(?) attached to the top of the black cowl. This distinction is evident on the Captives Tunic that displays both Agents 104-8 and 147-5. Facial attributes usually include a band that loops around the eye, but can vary. Even the 147-1 examples that are obvious copies depict the facial markings with dash elements in the band and two pointed hooks, though copy 3 does not have the hooks.
Agent 147-2 are a matching pair as typifies the theme of duality found with many Wari style vessels. Though not as pronounced a cowl, the hat is black and the forehead motif may represent an abstraction of the sunhead and rays. The faces have the curved band that loops around the eye extending into a curl on the cheek. Agent 147-3 is a very similar jar (as though made from a mold) with the same headdress though the eye design ends on the cheeks with two triangles pointing downward. This example may represent a separate category when more information becomes available.
Agent 147-4 occurs on an exquisitely carved wood container (Bergh 2012:Fig. 233) as profile heads (possibly ritually decapitated) that flank a feline headed deity. Without painted details, the carving only depicts the two tufts atop the headdress.
On the Captives Tunic Agent 147-5 is a full-bodied captive that wears a necklace that was most likely made of rectangular spondylus shell beads with drilled holes for sewing together. The tunic has a central vertical band of multi-colored geometric patterns flanked by plain red vertical bands. 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). Such 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.
Agent 147-6 is the effigy bottle in the Atarco style (Menzel 1964:48, ftnt. 293) half of a double-chambered strap-handle bottle. The other half is a round bodied bottle displaying a profile "mythical eagle head" (Menzel 1964:ftnt.371) that typifies the Pachacamac style. The agent has a black cap with a white band of white points crossing from ear to ear. At the back of the cap is a small modelled head with a simple smiling face and three tufts that together appear to represent a sunface motif. The black tunic has white circles and the arms and legs have black on white geometric elements that may represent tattoos. Remarkable this agent is blowing on a foxhead whistle similar to Agent 107-3.*
Agent 147-7 is an inlay figure into whale bone that was carved into the shape of a human hand. This agent is a captive with hands tied and grimace; wears a black cap with a nicely detailed tri-part motif of tufts that were engraved to appear as rays eminating from the center area thereby suggestive of a sunface motif. The eye is encircled with a black band of blue dots. The tunic has two vertical black bands filled with gold dots. The inlay workmanship is outstanding.
Agent 147-8 is a bodiless, full-faced image flanked by images of Agent 123-2 on a tapestry pouch. Above the forehead, the black on white smiling face is similar to Agent 147-6.
Agent 147-9 is another exquisitely inlayed image with exacting detail like Agent 147-7. Such pieces dedicated to Agent 147 indicates the high status of this Wari inidividual. On this artifact, the agent is a warrior or hunter holding up a dangling bola of two balls in one hand and axe in the other. The black cap displays two tufts extending from the corners and a two-eyed motif with one tuft above the forehead. The face is designed quite differently from other examples and therefore may indicate a different agent category. It has vertical bands of zigzags and angles in contrasting colors. Around the neck is an axe shaped pectoral. There is not tunic; he wears a leg-wrapped loin cloth with elaborat belt embedded with triangles filled with dots. The most curious attribute of this example is a wing motif attached to the agent's back.
Agent 147-3 displays another version of a facial band design with triangular elements as seen on Agents 106-8, 110-1, 132-6, 132-7, 145, 147-3, 148-1, 149-1, 151-2 and 162.

*Morell, Virginia - Empires across the Andes National Geographic June,2002:106-119 - See Kenneth Garrett's photo, p.107, of fox-head whistle found at Conchopata.
MAP 		Agent 147
REFERENCES:
147-1 (copy 1)    No provenience     Anton 1962:Fig.107
147-1 (copy 2)    No provenience     Flagel 1929:Planche I ;    Kelemen 1946:Pl.164a
147-1 (copy 3)    No provenience     Museo Regional de Ica "Adolfo Bermudez Jenkins", MRI-00178-01;   Zuidema 1972:Fig.2,3 ;    Salazar Bondy 1964:32 (back only) ;    Lumbreras 1990:204;     Larco Hoyle 1966:Fig.106;     Knobloch 2010:206, Fig.15
147-2 (copy 1)    Pachacamac site     Ethnologisches Museum der Staatlichen Museen zu Berlin, V A 49647     Knobloch 1985 photo (sitting effigy jar) ;   Disselhoff 1967:Tafel 35
147-2 (copy 2)    Pachacamac site     Ethnologisches Museum der Staatlichen Museen zu Berlin, V A 19088     Knobloch 1985 photo (sitting effigy jar)
147-3    Pachacamac site     Ethnologisches Museum der Staatlichen Museen zu Berlin, V A 49645     Knobloch 1985 photo (sitting effigy jar) ;    Schmidt 1929:Tafell III, rt.
147-4    No provenience     Cleveland Museum of Art, John L. Severance Fund 2007.193.a-b;    Bergh 2012:242-243, Fig.233 (p.243, right)
147-5    No provenience     Private collection;    Knobloch 2010:207, Fig.17, second captive agent in from bottom right corner ;    Closeup
147-6    Pachacamac site     Ethnologisches Museum der Staatlichen Museen zu Berlin, V A 49699     Knobloch 1985 photo (double chamber bottle) ;    Schmidt 1929:Abb.271 ;    Willey 1949:Pl.32b ;    Knobloch 2012:Fig.123;    Atarco Style
147-7    Paramonga region     Schindler 2000:147, Fig - N.M. 301
147-8    No provenience     Textile Museum (1959.10.1);    Bird 1965:Fig.24    Lapiner 1976:Fig.553.
147-9    No provenience     Anton 1962:Fig.118a
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AGENT: 148

After years of reconstruction, a Conchopata urn now displays 7 Agents that include: 100-14, 100-15, 101-4, 106-6, 106-7, 106-8, 112-2, 118-1, 132-6, 132-7, 148-1. The depictions indicate warrior confrontations involving Agent 112 with Agent 100 and with Agent 101. There is a naked female splayed out on the urn's interior with baby jaguars at her nipples. It is difficult to determine if the jaguars are merely suckling and nibbling. There are recent accounts of Amazonian tribes in which women suckle baby monkeys. The intensive narratives depicted on both sides of the urn may indicate its main use as disseminating information rather than food storage and ceremonial rather than quotidian. Agent 148-1 is on the interior of this urn and displays a fancy headgear of a rounded white cap above a headband of diamond shapes with embedded dots and a broad chin band, and ear disk. Agent 148-2 is on the exterior of this urn and displays a fancy headgear of a rounded white cap above a headband of diamond shapes with embedded dots, ear spool, nose plug hanging locks of hair and a broad chin band of alternating squares. This category represents only partial identity but displays a specific element of facial design. The facial design is an elaborate band curving around the eye and mouth with sawtooth points each embedded with triangle elements that point towards the nose and the ear ending in curls at the chin and cheek (see Mancilla 2012). It is similar to the descriptions of Agents 106-8, and 132-6. Other agents with embedded triangular elements in a band pattern on the face include Agents 145, 147-3, 149-1, 151-2 and 162.
MAP 		Agent 148
REFERENCES:
148-1    Conchopata site, Ayacucho Laboratorio de Arqueología, Universidad Nacional de San Cristóbal de Huamanga     Field photos and drawings courtesy of William H. Isbell and reconstruction by Knobloch 1999
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AGENT: 149
This category represents an identity created by a specific element of facial design. Each eye appears to be encircled by a segmented ray of dash marks that ends as a curve on the cheek with attached angular points each embedded with triangle elements all of which point along the jaw. These rays are in contrasting colors. Agent 149-1 is an exquisitely modeled figure of a captive agent - hands tied behind the back - wearing a leg wrapped loincloth and waistlength tie-dyed tunic, earspools, a headband of diamond shapes and braided hair. Though the figure alone is amazing, the entire vessel is remarkable because the agent's headdress is an actual bowl in the Wari 'geometric style' displaying three panels of abstract Pachacamac style griffins.
There are other agents that also display facial bands with attached triangular points embedded with triangle elements, such as: 106-8, 110-1, 132-6, 132-7, 145, 147-3, 148-1, 149-1, 151-2 and 162.
MAP 		Agent 149
REFERENCES:
149-1    Sausal site, Chicama     Donnan 1968:Plate XII, Fig.1a and Fig. 6a, b, c
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AGENT: 150
Agent 150-1 is depicted as a captive on a Conchopata style urn like those found by Julio Tello in 1942. It is similar to Agent 140-1 but, in this case, is held at the top of the head by a beltless Staff God. Agent 150-1 illustrates a partial urn reconstruction on which beltless Staff Gods alternate with Profile Deities. This narrative of supernatural relationships does not represent a 'central deity theme' as carved into Tiwanaku's Gateway of the Sun. 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 leg-wrapped 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 		Agent 150
REFERENCES:
150-1    Conchopata site, Ayacucho Laboratorio de Arqueología, Universidad Nacional de San Cristóbal de Huamanga William Isbell 1999 photos
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AGENT: 151
This agent wears a very distinctive headband and occurs on three oversize, face-neck jars from three distant sites. The headband is black with white criss- crossing lines that create a row of diamond shape spaces. Each of these spaces is filled with a red + design element, outlined in white with a white + design element in the center. In the triangular spaces outside the diamond spaces, each is filled with a yellow donut-shaped design element. Because Agent 151-1 is represented by a sherd, only a small section of a diamond space occurs that had been above a black side-burn and does not show the donut-shaped element.
Agent 151-2 is the most complete image of the agent's facial features. These features include a white earspool and tearband that covers the cheek with a black outlined, red band that has three triangular points each embedded with triangle elements all of which point towards the nose.
There are other agents that also display facial bands with attached triangular points embedded with triangle elements, such as: 110-1, 132-6 (that occurs on the exterior side of this same sherd), all Agents 145, 148-1, 149-1...
Agent 151-2 also displays an area of the vessel's body (with additional sherds) indicating a typical Wari style pattern of two panels outlined with a wide band of various design elements. Here those elements are recurved-S bands in alternating colors. The panels can be filled with elaborate motifs of animals such as jaguars or creatures such as the humped back animal. The latter is most likely for Agent 151.
Agent 151-3 helps to confirm the choice of humped back animals that faced each other in the panels. Sherds only show a part of the headband, earspool and black hair braids down the back.
The locations of these agents suggest a route of contact from the Huari capital to southern Wari sites that may have enhanced Jincamocco elites with important managerial roles.
The humped back animal that was most likely displayed on the above agents' vessel bodies is best represented by the Atarco style face-neck jar housed at the Denver Art Museum
This agent displays another version of a facial band design with triangular elements as seen on Agents 106-8, 110-1, 132-6, 145, 147-3, 148-1, 148-2, 149-1, 151-2 and 162.
MAP 		Under Construction
REFERENCES:
151-1    Huari site, Ayacucho     Yale Peabody Museum of Natural History, Division of Anthropology YPM ANT 211689;   Knobloch, Isbell, Fullen, Zegarra 2013 photo
151-2    Jincamocco site, Cabana     photos by Katharina J. Schreiber 1977
151-3    Quilcapampa site, south coast     photo by Johny A. Isla 2015
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AGENT: 152
Represented by sherds from the rimhead area of oversize face-neck jars in the Viñaque style of Epoch 2A. There are no apparent designs on the face that displays the typical, black dot pupil and wide-eyed expression borrowed from the Robles Moqo style. This agent's identity is displayed in the wide headband located below a short plain rim.
Agent 152-1 is more complete with a white-outlined, black tadpole-shaped motif flanked at the tail by black-outlined triangular elements. The body of the shape has a face of two red pupilled, round yellow eyes and rectangular mouth of white lines that probably represent teeth.
Agent 152-2 completes the rim shape though only has a partial eye and the tadpole motifs are arranged in the opposite direction.
MAP 		Under Construction
REFERENCES:
152-1    Jincamocco site, Cabana     photos by Katharina J. Schreiber 1977
152-2    Quilcapampa site, south coast     photo by Johny A. Isla 2015
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AGENT: 153
This agent is represented by an oversize face-neck jar in the Viñaque style of Epoch 2A. Schreiber (1992:242-246) describes the remains as 241 fragments initially created by a frontal blow and then repeatedly smashed, most likely due to acts of vengeance as Wari tyranny came to an end and the site was abandoned. The fragmented condition of all the sherds from Wendell Bennett's (1952) 15 excavation units at Huari also echoes Schreiber's interpretation of a "destruction of the symbols of Wari power" (IBID:246) as the people of the Late Intermediate Period inherited what remained.
The face is undecorated so the distinguishing feature is Agent 153-1's headband. Unlike most Viñaque style face-neck jars that display geometric motifs in the headband, this example displays a repeated mammal. Since the body displays humped back animals with N-canines that represent felines, the mammal motifs may also be felines but the mouth areas are missing and Schreiber suggests a vizcacha or domesticated dog. The figure is a simple, unsegmented form of a rectangular body with curved tail, front and back legs and head with a curved ear completely outlined in one black line. The feet have claws as three straight, black points. Thus, too simplistic to accurately discern its animal identity.
On the upper front area of the vessel body a rectangular design field was defined by a black outlined, white fillet band and segmented into two panels with humped back animal motifs that flank a central, vertical band of three step fret tocapus (though Schreiber's (IBID:Fig.7.21) figure only shows two perhaps there are other sherds to indicate a third).
In the reconstruction below, the sherds that displayed the humped back animal motifs of Agent 153-1 presented an interesting challenge. The outer fillet bands that outline the central, orange fillet band of this type of motif's body follow an artistic canon of alternating colors. The outer fillet band that crosses over the head, body and tail must be the same color as the outer fillet band between the two back legs and, when space allows, the outer fillet band between the two front legs. The alternating color is used on the other outer fillet bands: one follows the underside of the tail and back of the motif; a second follows from the underbelly along the inner two legs; and, a third - if space is provided - is between the front leg and chin. Given this canon, it became impossible to construct only two humped back animal motifs and eventually concluded with four. Either each panel had two motifs that faced inward or there was another vessel. For the former, the vessel would have to have been 10 to 20 centimeters taller than previously determined. The two sherds that display a back leg also present a rather unique, extra corner prior to the attachment of the tail section.
For examples refer to Atarco style canteen at the Brooklyn Museum, NY (41.42)(Knobloch 2012:126, Fig.6), Viñaque style bowl at Emory University's Michael C. Carlos Museum (1991.2.222) (digitalgallery.emory.edu), and Denver Art Museum (Menzel 1968:PlXXXI, Fig. 17).
MAP 		Under Construction
REFERENCES:
153-1    Jincamocco site, Cabana     photos by Katharina J. Schreiber 1977
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AGENT: 154
This agent is most likely associated with the Chachapoya culture due to the disc around the neck of Agent 154-1, a carved stone figurine (jade colored). This figurine should not be associated with those found at Pikillacta. Its pose is somewhat similar with arms at the sides, no weapons, a long tunic and has a small incision that separates the footpads at the figurine's base, but its size is 3 times taller. Unfortunately, the headdress was broken off.
Agent 154-1's pectoral disc is identical to the silver disc discovered at Cutervo (April-May, 2017). Similar discs have been found at Pomacanchi (near Cuzco) (Chávez 1985:7, figure 31), Espíritu Pampa (Isbell 2016:Fig. 27A) (see Agent 103 above) and in the Chachapoya region (Isbell 2016:Fig. 27B) about 100 km northeast of Cutervo. The curving serpentine lines and circular filler elements are similar to the Chachapoya ceramic style (Koschmieder 2012: figures 99, 100). Thus, Knobloch (2012:115, ftnt.16) presents this stylistic and locational evidence to support Agent 154's identity as ethnically Chachapoya. This agent most likely represented another powerful culture that either threatened, competed and/or traded with the Wari along its selva borders.
Agent 154-2 is a small, carved wood container probably used to store lime for coca chewing or other medicinal/hallucinogenic substance. This seated figure wears a circular pectoral, holds an axe in one hand and a round shield in the other. The headdress is a skull fitting cap with two rows of segmented squares. Besides the pectoral its similarities to Agent 154-1 are the large earspools and long tunic as well as the thin, double incised lines that outline the eyes. Though located a substantial distance from any selva or Chachapoya contact, Milosz Giersz's (Giersz and Pardo 2014) team has shown the site of Castillo de Huarmey to be a major source of archaeological evidence supporting Wari's empirical development. Thus, long distant connections would not be surprising.
Agent 154-3 is an exquisite enlayed image on a necklace piece as the captor of captive Agent 104-4. The only attribute that relates to this category is the circular pectoral of 4 concentric circles, long tunic and earspool. Therefore, this agent may eventually be reassigned. The agent may be holding a mirror in one hand and in the other grasps the end of the rope attached to Agent 104-4's neck.
MAP 		IMAGE
REFERENCES:
154-1    No provenience     Museo Larco Catálogo en Línea, ML301403 (stone figurine)
154-2    Castillo de Huarmey site     Giersz and Pardo 2014:185, Fig. 146
154-3    No provenience     Stuhr 2008: Fig. 63 (as captor of Agent 104-4)
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AGENT: 155
This agent displays long hair, a nose plug, but no ear adornment and another version of the facial design with an elaborate band curving around the eye and mouth with sawtooth points that point towards the nose and the ear ending in curls at the chin and cheek. It is similar to the descriptions of Agents 106-8, 132-6, 148-1, and 148-2 with embedded triangular elements but more similar to    Agents 160, 161 without the embedded triangles.
Agent 155 is a warrior with axe and shield and associated with Agent 100-7, an archer with shield, on a Conchopata style urn. Together they are known as the Boat Warriors, due to the curved pad they kneel upon that may represent totora reed boats that are used on Lake Titicaca. Image reconstructions are based on partial urn fragments excavated by José Ochatoma and Martha Cabrera.
These Epoch 1B/2A examples include a cooperative warrior scene of Agents 100 and 155. Besides Conchopata, the only other location for a similar agent is Agent 160 at the Wari site of Cotocotuyoc in the Huaro Valley. This association may indicate that Agent 100 made Cusco allies during the construction of Pikillacta. To speculate further, this scene of warriors with weapons and shields on reed boats may narrate an expeditionary force into the Lake Titicaca region.

MAP 		Under Construction
REFERENCES:
155-1     Conchopata site, Ayacucho    Museo Hipólito Unanue, Ayacucho     Knobloch 2000c ;    Knobloch 2000c ;    Ochatoma and Cabrera 2002:Fig.9, 10A-C
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AGENT: 156
This agent has a simple round cap with a possible feather (?) and headband, a rectangular tear band and disc-shaped ear spools. The hat and ear spool are similar to Agent 157. Associated with 7 other agents painted along the exterior rim on an oversize urn as profile heads with their tongues hanging down most likely indicating strangulation as torture tactics. See: 103-7, 108-3, 109-3, 123-1, 124-1, 125-1 and 157-1.
MAP 		Under Construction
REFERENCES:
156-1    Conchopata site, Ayacucho    Museo Hipólito Unanue, Ayacucho    Agent 156 closeup     Agent 156 on Urn: 1999 photos courtesy of W H Isbell     Photos courtesy of William H. Isbell
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AGENT: 157
This agent has a simple rounded cap with wide headband, and disc-shaped ear spools. The face is halved into contrasting colors with a diagonal stepped line from above the ear to the corner of the mouth. The hat and ear spool are similar to Agent 156. Associated with 7 other agents painted along the exterior rim on an oversize urn as profile heads with their tongues hanging down most likely indicating strangulation as torture tactics. See: 103-7, 108-3, 109-3, 123-1, 124-1, 125-1 and 156-1.
MAP 		Under Construction
REFERENCES:
157-1    Conchopata site, Ayacucho    Museo Hipólito Unanue, Ayacucho    Agent 157 on far right,     Agent 157 closeup with tongue hanging down: 1999 photos courtesy of W H Isbell     Photos courtesy of William H. Isbell
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AGENT: 158
There are only a few sections of this agent's face still remaining on the Ica tapestry textile discovered by Max Uhle at Ocucaje Site E. (see Hearst 4-4556) Agent 158 is identical to Agent 102 with a broad tearband, facial colors and minimal hairline. Their caps may have been identical except that Agent 158's has a small remnant of a circular filler element and not chevrons.
MAP 		Under Construction
REFERENCES:
158-1     Ocucaje site, Ica Valley     Phoebe A. Hearst Museum of Anthropology 4-4556 ;    Knobloch 2002 photo ;    Uhle 1913:Fig.4 ;    Menzel 1977:Fig.130 ;    Knobloch 1989:Fig.15 ;    Kaulicke 1998:262
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AGENT: 159
The Recuay culture existed in the Huaraz area approximately 300 miles (500 km) northwest of Huari. During the first half of the first millenium, the Recuay culture had developed a foundation for political autonomy and cultural integrity that easily withstood Wari conquest as witnessed by Agent 100-21 as a captive. By AD 600 major changes occurred in ceramic styles that replaced the kaolinite use and eventually led to end of the Recuay traditions in the 8th century AD with indications of borrowing 'secular Wari styles' (Lau 2012:27).
Besides the Huari site of Honcopampa with its D-shaped structure (Isbell 1991), George Lau (2012) also provides examples of creature motifs in both Recuay and MH1B Huari Chakipampa style that suggest sharing and borrowing mythical interpretations such as the Ayacucho Serpent (IBID:Figs. 11 with 9E) and bicephalic body ending in creature profile heads (IBID:Figs. 10 with 9A) and (IBID: Fig. 8C with bicephalic Ventral Animal.
The significant feature that identifies Agent 159 is the head band with flaps or wing-like extensions, one on each side of the head above the ears. Moche style effigy jars include shaman agents with flap-like attachments to the headband, but these are clear representations of jaguar paws (Stone 2011). Janusz Wołoszyn (2008:184-186, 255, Figs. H-II-6a) also recognized these effigy images with a crown-like headdress as Recuay. One such example occurs on a 'Midwife Bowl' (previously aka dipper).
Early Recuay effigy vessels also indicate that the flaps may be jaguar paws, and these may be the antecedent for the feather-like flaps on Agent 159 that date to MH1B and 2. Moche examples can be viewed on Museo Larco website (https://www.museolarco.org/catalogo/     with ML000027, ____028, 157, 173...). Recuay (or Santa-Recuay) examples can be viewed on the Museo Larco website (https://www.museolarco.org/catalogo/     with ML029479, _____480,486,487, 522, 710...).
Agent 159-1 with mace and shield was excavated in the chullpa, funerary sector of Ichic Willkawain (Paredes 2016:Fig.14).
Agent 159-2 is a badly battered statue from the site of Huari that is now anchored on a cement pedestal in the courtyard of the Colegio Mariscal Antonio Jose De Sucre Pacaycasa.
Agent 159-3 is an effigy bottle with a general provenience of Ayacucho, most likely from Huari. The neck shape of the bottle may have determined the flaps to the sides rather than the top of the head band. (Otherwise, this vessel may not represent a derived Recuay-like agent representation).
MAP 		Under Construction
REFERENCES:
159-1    Regional Museum of Ancash     Internet, scroll to third photo, center vessel     Close-up
159-2    Pacaycasa, Ayacucho    Colegio Mariscal Antonio Jose De Sucre Pacaycasa Knobloch 2016
159-3    Ayacucho (possibly Huari)     Ministerio de Cultura, Ayacucho (MHRA 257/ INC A RN81913) Knobloch 2015
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AGENT: 160
Agent 160 is represented on a sherd that lacks most of the cheek areas. This agent has a facial feature similar to profile heads on the interior and exterior rim band of Conchopata urns. It has a nose plug and an elaborate band curving around the eye and mouth with sawtooth points ending in curves at the chin and cheek. It is similar to the descriptions of Agents 106-8, 132-6, 145, 147-3, 148-1, 148-2, 149-1, and 151-2, but without the embedded triangles. Thus, it is more similar to    Agents 155 (Boat Warrior) and 161 . This urn association may indicate that Agent 100 made Cusco allies during the construction of Pikillacta. To speculate further, this scene of warriors with weapons and shields on reed boats may narrate an expeditionary force into the Lake Titicaca region.
MAP 		Under Construction
REFERENCES:
160-1    Huaro, Cusco area     Glowacki 2014:Figure
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AGENT: 161
The cheekbone fragment of this face neck jar suggests an agent with sideburns and a facial feature of an elaborate band curving around the eye with stepped elements extending into the cheek areas. The fragment does not indicate any embedded triangles as with Agents 106-8, 132-6, 145, 147-3, 148-1, 148-2, 149-1, and 151-2. Therefore, it is more similar to    Agents 155, 160.
MAP 		Under Construction
REFERENCES:
161-1    Huari site, Ayacucho     Yale Peabody Museum of Natural History, Division of Anthropology YPM ANT 212676;   Knobloch, Isbell, Fullen, Zegarra 2013 photo
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AGENT: 162
This agent has facial features of an elaborate tear band on the cheek with sawtooth points each embedded with triangle elements. It is similar to the descriptions of Agents 106-8, 132-6, 145, 148-1, and 148-2. Other agents with embedded triangular elements in a curved pattern on the face include Agents 145, 147-3, 149-1, and 151-2.
MAP 		Under Construction
REFERENCES:
162-1    Huari site, Ayacucho     Yale Peabody Museum of Natural History, Division of Anthropology YPM ANT 212676;   Knobloch, Isbell, Fullen, Zegarra 2013 photo
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AGENT: 1##

MAP not yet available 		Under Construction
REFERENCES:
1##-1    museum's photo museum #xxx     citations
1##-2    my photo museum #xxx     Knobloch date photo    citations







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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).
BACK TO TOP
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).
BACK TO TOP
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).
BACK TO TOP
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).
BACK TO TOP
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).
BACK TO TOP
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).
BACK TO TOP
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.
BACK TO TOP
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).
BACK TO TOP
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 339 is a holding spot in case the 40th 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.
BACK TO TOP
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.
BACK TO TOP
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.
BACK TO TOP
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.
BACK TO TOP
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.
BACK TO TOP
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.
BACK TO TOP
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.
BACK TO TOP
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:     January 2, 2023
Copyright © 2002 Patricia Jean Knobloch, 9229 Dillon Drive, La Mesa, CA 91941