The practice of human sacrifice was common to many ancient cultures. Death,
the shedding of blood and physical mutilation ritually transformed the victim.
The life being offered to the gods gave the transformed individual sacred
status (sacrum facere).
The ritual combat ceremony and subsequent human sacrifice practiced by the
Moche was not unique to this culture. In Mesoamerica we find the “Flower Wars”
practiced by the Aztecs of Mexico, which ended with the ritual sacrifice of
the defeated warriors. Among the Mayans, the ritual of the “ball game” appears
to have culminated with the sacrifice of some of the players.
Human sacrifices were also common among the Celts, Scandinavians, Greeks,
Carthaginians, Romans and oriental peoples.
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Sacrifice ceremony room
Sacrifice is the central act in almost all religions. Human sacrifice
entailed the offering of a victim in order to placate the wrath of gods,
spirits or cosmic forces.
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In today’s world symbolic forms of sacrifice can still be seen in
certain religious practices.
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Among the Moche, the object of ritual combat between warriors seems to
have been the selection of candidates for sacrifice from among the
most productive members of society.
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The society offered its gods one of its most valued assets in exchange
for the well-being of the community. Sacrifice constituted an act of
giving and receiving.
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Mochica sacrifice ceremony
The Sacrifice Ceremony was central to the Mochica religion.
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The presentation of the blood of the defeated to the greater gods is
the culmination of the ritual combats.
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In several archaeological sites on the north coast of Peru, tombs were
excavated where people were found with ornaments and objects that
allow us to identify them as those who participated in these
ceremonies.
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Bottle neck handle stirrup
In nature, death is needed in order to give life. The human sacrifice
depicted on this vessel is probably associated with the spring equinox.
This is an important moment in the Andean agricultural calendar,
announcing the coming of the rainy season.
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Propitiatory rites are depicted on this pottery vessel: the sacrifice
of captured warriors and the presenting of a goblet to the gods.
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A two-headed serpent is shown apparently holding a sacrificial heart
in its hands. Its body divides the vessel into two hemispheres: an
upper and lower section.
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A sacrifice is depicted in the lower section:
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the executioner’s hands approach the neck of a naked man, who is
seated with his hands tied;
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the blood of the sacrificial victim is collected in a vessel and
offered to the gods of the celestial world.
- In the upper section, we see the gods:
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the Radiant God, a figure with feline fangs and a conical helmet
ending in a tumi (symbol of the sun) and serpent-like rays,
receives the vessel from an osprey, a bird of prey able to fly and
also to submerge itself in the ocean when fishing, and therefore
associated with both the celestial world and the underworld.
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Also depicted is the Moon Goddess, seen in a longer tunic and
wearing braids that end in serpent heads. The goddess advances,
carrying the vessel from the nighttime world into the world ruled by
the Radiant God.
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Finally, we see the Owl God, shown with a half moon and owl ear
headdress, who rules over the dark and damp underworld. This figure
is also known as the God of the Milky Way, for its association with
the night sky, stars and rainfall.
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The Owl God is the complementary opposite of the Radiant God. They
represent the two forces which dominate during different periods of
the year and yet at the same time complement one another: the dry
season and the rainy season. This opposition is expressed in the
opposing positions adopted by the two figures on the vessel.
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This vessel appears to depict a ceremonial meeting between the two
gods, possibly marking an important moment within the agricultural
calendar, such as the spring equinox, which heralds the beginning of
the rainy season.
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See more at
7.68. Mochica Sacrifice Ceremony - Museo Larco.
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Mochica sacrifice ceremony plan
Plan Legend:
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The Greater Gods - The Radiant God receives the cup from the warrior
bird that is followed by the Goddess and the Owl God. They are
accompanied by the dog and the anthropomorphic iguana. The gods
receive the blood offering and in return restore order. In this way,
they continue to reign over other supernatural beings, over humans and
other earthly creatures.
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The Sacrifice of the Vanquished - Helpers with supernatural traits,
such as the anthropomorphic feline, sacrifice captive warriors who
have been defeated in ritual combat. They cut their necks and receive
their blood in cups. The feline-shaped pitcher contains the blood
transported on a litter to the world of the gods.
- Cutting the captive warrior's neck
- Receiving the captive warrior's blood in a cup
- The blood is transported on a litter to the world of the gods
- Two-headed serpent dividing into two hemispheres
- Radiant God
- Warrior Bird
- Moon Goddess
- Owl God
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Mochica warriors
Ceramic. Peruvian Northern Coast. Florescent Epoch (1 CE – 800 CE).
- Warriors prepared for ritual combat.
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To show their high social position they dressed themselves with
headdresses, feather ornaments, ear plugs, breastplates, necklaces,
bracelets, decorated shirts, backflaps, rattles and face paint.
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They carried shields and weapons such as clubs, lances and
spear-throwers.
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See more at
7.69. Mochica Warriors - Museo Larco.
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Mochica clubs
Wood, ceramic. Peruvian Northern Coast. Florescent Epoch (1 CE – 800
CE).
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The Moche ritual combat and sacrifice ceremony
Throughout history, collective religious movements have sought to
promote a common faith within society as a tool for maintaining
universal order and encouraging positive changes in the natural world.
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As an agricultural society and in common with all pre-Colombian
cultures, the Moche worshiped the forces of nature. They considered
human sacrifice as necessary for the maintenance of order in the world
and the prevention of disasters like those provoked by the effects of
the El Niño phenomenon.
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The study of the images seen in Moche art has enabled researchers to
reconstruct the culture’s most important ceremonial sequence, which
began with ritual combat and culminated in the sacrifice of those
defeated in battle.
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The Ritual Combat - Dressed in fine clothes and adornments,
armed warriors faced each other in ritual combat. In this hand-to-hand
encounter the aim was to remove the opponent's headdress rather than
kill him. The object of the combat was the provision of victims for
sacrifice.
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The Sacrifice - The vanquished were stripped and bound, after
which they were led in procession to the place of sacrifice. The
captives are portrayed as strong and sexually potent. In the temple,
the priests and priestesses would prepare the victims for sacrifice.
The sacrificial methods employed varied, but at least one of the
victims would be bled to death. His blood was offered to the principal
deities in order to please and placate them.
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Mochica ritual combat
Stone. Peruvian Northern Coast. Florescent Epoch (1 CE – 800 CE).
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End of the combat and procession of defeated warriors
Ceramic. Mochica. Peruvian Northern Coast. Florescent Epoch (1 CE – 800
CE).
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Moche warriors faced each other with clubs and shields. Combat was
hand-to-hand and seems to have taken place in open areas like those
found on the deser coast.
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When a warrior removed another's helmet or grabbed his hair the combat
was over. The defeated warrior was stripped and his weapons and
clothes were wrapped in a bundle. The victors led the defeated
warriors by ropes tied around their necks to their final destination:
the place of sacrifice.
- Photograph by Museo Larco – Lima, Perú.
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See more at
7.72. End of Combat and Procession of Defeated Warriors - Museo
Larco.
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Pictorial bottle neck with stirrup handle
Ceramic. Mochica. Peruvian Northern Coast. Florescent Epoch (1 CE – 800
CE).
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Pictorial bottle neck with stirrup handle representing warriors
fighting.
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Warrior with headdress, circular ear muffs, face paint, wrist guards,
tunic and hip protector.
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Naked prisoner with tubular ear muffs, face and body paint, noose
around neck.
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Warrior holding baton, with feline and crescent headdress, with face
and body paint, wrist guards, tunic and hip protector.
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Defeated warrior holding shield, with tubular ear muffs, tunic and
body paint.
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Representation of bundled weapons and anthropomorphic baton clothing
with shield (panoply) and birds.
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See more at
ML001730 - Museo Larco.
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Sculptural bottle neck with stirrup handle
Ceramic. Mochica. Peruvian Northern Coast. Florescent Epoch (1 CE – 800
CE).
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Sculptural bottle neck with stirrup handle representing combat between
two warriors
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One is holding a baton, with a conical helmet, circular earflaps,
skirt, hip protector.
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The other is holding a quadrangular shield and baton, with a pectoral
and hip protector.
- Fallen crescent headdress and prowling feline.
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See more at
ML001736 - Museo Larco.
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Pictorial bottle neck with stirrup handle
Ceramic. Mochica. Peruvian Northern Coast. Florescent Epoch (1 CE – 800
CE).
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Pictorial bottle neck with stirrup handle representing warriors
parading with naked prisoners with rope around their necks.
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Warriors are holding batons and circular shields, with conical helmet,
shirt and loincloth.
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Stirrup handle with representation of batons and shields (panoplies).
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See more at
ML001731 - Museo Larco.
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Anthropomorphic bird warrior
Ceramic. Mochica. Peruvian Northern Coast. Florescent Epoch (1 CE – 800
CE).
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Canchero with representation of an anthropomorphic character (Warrior
Bird) holding a baton and tied with a quadrangular shield with darts
(panoply), with a bird's beak and wings, conical half-moon headdress
and stepped appendages, facial and body paint, circular earmuffs,
pectoral, shirt and skirt with geometric designs, wristbands and hip
protector with circle designs.
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See more at
7.73. Anthropomorphic Bird Warrior - Museo Larco.
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Dog that accompanied the Radiant God
Ceramic. Mochica. Peruvian Northern Coast. Florescent Epoch (1 CE – 800
CE).
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Radiant God that receives the goblet with the blood of the sacrificed
warriors
Ceramic. Mochica. Peruvian Northern Coast. Florescent Epoch (1 CE – 800
CE).
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Pictorial bottle neck with stirrup handle with representation of a
supernatural anthropomorphic character with feline fangs, headdress in
the shape of an octopus, feathers and snake, quadrangular earflaps and
snake head earrings, pectoral, wristbands, tunic with geometric
designs, skirt with stepped symbols with scroll, cape and body paint,
holding cup and plate.
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Representation of anthropomorphic character with supernatural features
with conical helmet with crescent and lightning headdress, circular
earmuffs, face paint, circular bead necklace, wristbands and tunic,
holding baton and circular shield.
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Representation of a zoomorphic anthropomorphic character with the head
and tail of a feline, a shirt with stepped geometric designs and a
skirt, cutting the throat of a naked prisoner with his hands tied.
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Representation of ulluchus, an anthropomorphic club with a human head
and arms, weapons and jugs.
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See more at
7.75. Radiant God that Receives the Goblet with the Blood of the
Sacrificed Warriors - Museo Larco.
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Portable platform or litter
Ceramic. Mochica. Peruvian Northern Coast. Florescent Epoch (1 CE – 800
CE).
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Pictorial bottle neck with stirrup handle with representation of a
character with a half-moon headdress, circular earflaps and a tunic
with designs of lines and dots.
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Carried on a litter by an anthropomorphic character with the head and
tail of an iguana, with a headdress, shirt and loincloth.
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And an anthropomorphic character with a head and feline tail,
half-moon headdress, shirt and loincloth
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Character with the head and wings of a bird, half-moon headdress,
shirt, earmuffs and loincloth.
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Representation of feline and anthropomorphic characters with the head
and tail of an iguana or the head and tail of a feline or the head and
wings of a bird holding batons and shields.
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See more at
7.77. Portable Platform or Litter - Museo Larco.
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Serpent with two feline heads
Ceramic. Mochica. Peruvian Northern Coast. Florescent Epoch (1 CE – 800
CE).
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Sculptural bottle neck with stirrup handle representing a
double-headed snake or coiled snake with two feline heads. Geometric
designs are observed in each of the turns of the snake.
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This sculptural ceramic bottle depicts a two-headed snake coiled
around itself. The spiral formed by its coiled body shows symbols
linked to water (circles) and symbols that resemble the spots on the
skin of the otorongo or jaguar.
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The two-headed snake is a very significant mythological being in the
Andean worldview. This being is linked to shamanic visions, and is
considered a connector between different worlds. The Milky Way or
rainbow is sometimes represented as a two-headed serpent in the shape
of an arch.
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See more at
7.78. Serpent with Two Feline Heads - Museo Larco.
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Characters participating in the ceremony
Ceramic. Mochica. Peruvian Northern Coast. Florescent Epoch (1 CE – 800
CE).
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God with owl headdress
Ceramic. Mochica. Peruvian Northern Coast. Florescent Epoch (1 CE – 800
CE).
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Sculptural bottle neck with stirrup handle representing
anthropomorphic character with supernatural features (Ai Apaec)
seated, with feline fangs, owl headdress and plumes, face paint,
animal head earrings, shirt with geometric designs, decorative
clothing for the back with feline and skirt decoration.
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This sculptural ceramic bottle represents the Mochica mythological
hero Ai Apaec (named after Rafael Larco, a term that in the Muchik
language means "the maker"), characterized by wearing snake earmuffs,
fangs on his face, and a headdress that varies from according to the
context in which he finds himself as part of his deed, since he
travels through the different worlds performing his heroic deeds.
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In this case, he wears a headdress composed of two plumes in the shape
of the fruit of the ulluchu and an owl head.
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On the back of his outfit he wears an ornament in the shape of a
feline skin, which he also uses in the rituals of consumption and
offering of coca leaves.
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Both the coca leaves and the ulluchu fruits used by the Mochicas in
their ceremonies came from the eastern region of the Andes, a humid
and rainy region.
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In scenes painted on ceramics, where rainbows, rain and ritual
consumption are represented, Ai Apaec is seen with his hands together
in the same prayerful attitude as in this sculptural bottle.
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See more at
7.79. God with Owl Headdress - Museo Larco.
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Anthropomorphic iguana
Ceramic. Mochica. Peruvian Northern Coast. Florescent Epoch (1 CE – 800
CE).
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Sculptural bottle neck with stirrup handle representing a seated
anthropomorphic character (anthropomorphic iguana) with the head and
tail of an iguana, a condor headdress, tubular earflaps, a tunic with
geometric designs, a bulge on the back and wristbands.
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See more at
7.80. Anthropomorphic Iguana - Museo Larco.
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Moon Goddess
Ceramic. Mochica. Peruvian Northern Coast. Florescent Epoch (1 CE – 800
CE).
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Sculptural bottle neck with stirrup handle that represents a female
anthropomorphic character with supernatural features (Priestess or
Moon Goddess). This mythological woman has feline fangs, a headdress
with two lateral appendages, circular earflaps, two braids, a circular
bead necklace, wristbands and a long tunic, and she holds two trident
objects or textile instruments (madejeros).
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This sculptural ceramic bottle represents a mythological Mochica
woman. She wears a long tunic, a headdress with two side plumes,
circular earflaps and a necklace. Her hair is arranged in braids, a
characteristic hairstyle of Mochica women.
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This mythological woman has intersected fangs, and she carries two
objects that identify her: a tassel and a scepter-string. The skein is
a textile instrument that identifies her, since this mythological
woman is symbolically associated with the spider, weaver.
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See more at
7.81. Moon Goddess - Museo Larco.
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Defeated warrior
Ceramic. Mochica. Peruvian Northern Coast. Florescent Epoch (1 CE – 800
CE).
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Sculptural bottle neck with stirrup handle depicting a seated naked
prisoner with a plume on his forehead, double circular earrings, a
mustache, a beard and a rope around his neck.
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This sculptural ceramic bottle represents a man held captive after
combat, who has been stripped of his clothing and is naked.
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He keeps his earflaps in the form of double circular earrings, which
are associated with his high social rank.
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A rope goes around his neck, and his hands have been tied behind his
back.
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His hair has the characteristic fringe of captive warriors whose hair
has been cut before sacrifice.
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His particular beard and mustache have allowed us to identify this
character as a high-ranking gentleman who has also been represented in
full body with his attire and whose head was also modeled in a
“portrait huaco” in Mochica art.
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See more at
7.82. Defeated Warrior - Museo Larco.
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The victor, symbolized by the feline, attacks the defeated warrior
Ceramic. Mochica. Peruvian Northern Coast. Florescent Epoch (1 CE – 800
CE).
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Mochica decapitator gods
Ceramic. Peruvian Northern Coast. Florescent Epoch (1 CE – 800 CE).
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In Mochica art the gods were represented fighting among themselves, or
against other supernatural beings or humans.
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These battles ended with the decapitation of the defeated opponent.
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The gods are represented holding a half-moon shaped knife known as a
tumi.
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See more at
7.85. Mochica Decapitator Gods - Museo Larco.
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Sculptural bottle neck with stirrup handle
Ceramic. Peruvian Northern Coast. Florescent Epoch (1 CE – 800 CE).
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Sculptural bottle neck with stirrup handle representing
anthropomorphic character (Dragon) with a human body, sawn animal
head, snake belt, shirt with geometric line designs, wristbands and
loincloth, holding knife and cutting the throat of a character with
shirt and loincloth.
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See more at
ML003464 - Museo Larco.
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Silver-plated copper ceremonial knife
Ceramic. Peruvian Northern Coast. Florescent Epoch (1 CE – 800 CE).
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Silver-plated copper ceremonial knife (tumi) with a
representation of an anthropomorphic character with a headdress with
five plumes, circular earflaps and two rays, holding knife and
decapitated human head.
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See more at
ML101006 - Museo Larco.
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Sculptural bottle neck
Ceramic. Peruvian Northern Coast. Florescent Epoch (1 CE – 800 CE).
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Sculptural bottle neck with stirrup handle representing seated
anthropomorphic character holding decapitated human head and knife,
with animal head and wings (bat), feline fangs, wrist guards and knife
hanging on the back and wrist guards (vampire demon / cutthroat bat).
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This is a ceramic sculptural bottle depicting a decapitating
mythological being. The character is a mix of feline, sea lion and
stingray.
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He is a being of the darkness and deep sea, who sits holding a
decapitated human head in one hand, and a knife in the other.
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Originally, this piece must have had mother-of-pearl inlays in the
small concave circles seen on the surface of the piece, which would
have suggested the brightness of stars against a dark sky. It is very
likely that this being has celestial connotations, like a
constellation.
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See more at
ML010854 - Museo Larco.
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Mochica ceremonial knife
Metal. Peruvian Northern Coast. Florescent Epoch (1 CE – 800 CE).
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Ceremonial scepter, knife and rattle made of silver-copper alloy with
scene of the Sacrifice Ceremony. There are representations of:
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Warrior flanked by panoplies (truncheons and circular shields) holding
a quadrangular shield and staff, with a conical half-moon helmet,
circular earflaps, a shirt and a loincloth.
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Anthropomorphic character with feline head and tail, circular earmuffs
and headdress, holding stolics.
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Anthropomorphic character with the head and tail of a feline, a
headdress with plumes, circular earflaps, a loincloth and claws on the
feet, holding a ceremonial knife (tumi) and a cup.
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Female supernatural anthropomorphic character (Priestess) with plumed
headdress, circular earflaps, snake-head appendage and robe, holding
cup and bowl.
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Sacrificed prisoner seated with arms back, with rope ending in a
snake's head around his neck.
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See more at
7.86. Mochica Ceremonial Knife - Museo Larco.
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Offering of the cup
The God who carries the cup shows us the ceremonial clothing that the
Mochica rulers and priests used in rituals.
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The gods display elaborate Nui attire and a variety of ornaments. They
wear frontal decorations on their headdress, nose rings, earflaps,
pectorals, necklaces, bracelets and shirts covered with metal plates
and flaps.
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The Mochica rulers and priests dressed like this in the main
ceremonies. They shone covered in gold and silver, and in this way
their supernatural nature was highlighted.
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When they died, these ornaments accompanied them to the afterlife as
part of their funeral trousseau. These pre-Columbian jewels can be
appreciated in the next rooms of the Museum.
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Left side: An anthropomorphic feline sacrifices a captive warrior.
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Right side: The God who carries the cup has the fangs of the feline.
On his head he wears a headdress decorated with bird feathers and his
earflaps and hanging decoration on the headdress end in snake heads.
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Mochica sacrificial cup and knife
Metal. Peruvian Northern Coast. Florescent Epoch (1 CE – 800 CE).
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The warriors’ throats were cut and their blood collected in ceremonial
cups to be offered to the priests, the representatives of the gods.
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In the tombs of individuals who in life must have taken part in this
ceremony, similar knives and cups have been found.
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See more at
7.88. Mochica Sacrificial Cup and Knife - Museo Larco.
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Other Mochica sacrifices
Ceramic. Peruvian Northern Coast. Florescent Epoch (1 CE – 800 CE).
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Mochica art illustrates other ways in which defeated warriors were
sacrificed.
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Some ceremonies occurred on islands, with the warriors transported on
rafts.
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Another type of sacrifice took place in the mountains, and the
warriors were thrown off a precipice.
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See more at
7.87. Other Mochica Sacrifices - Museo Larco.
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See also
Sources
Location
Larco Museum - Ceremonial Vessels
Larco Museum - Ritual Warfare and Music
Larco Museum - Death in the Ancient Peru