Tucume is a pre-Hispanic site in Peru, south of the La Leche River on a plain
around La Raya Mountain.
It covers an area of over 540 acres (220 ha) and encompassing 26 major
pyramids and mounds.
The site was a major regional center, maybe even the capital of the successive
occupations of the area by the Lambayeque/Sican (800-1350 AD), Chimú
(1350–1450 AD) and Inca (1450–1532 AD).
The area is referred to as Purgatorio (purgatory) by local people. Local
shaman healers (curanderos) invoke power of Tucume and La Raya Mountain
in their rituals, and local people fear these sites.
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Entrance to Huaca Las Balsas
Huaca Las Balsas is located in the southwest area of the Tucume
Archaeological Site.
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Tucume encompasses 26 large pyramids and mounds
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Plan of the Tucume Archaeological Complex
Huaca Las Balsas is located in the lower left corner.
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Huaca Las Balsas - Excavations
Huaca Las Balsas was excavated from. 1992 to 1994 by Alfredo Narvaez
under of the patronage of the Kon Tiki Museum in Oslo - Norway. Several
murals made of mud, which decorated. rooms of special religious
significance, were discovered here.
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This work was continued by Bernarda Delgado and Alfredo Narvaez in
2008 and 2009 as a project of the Tucume site museum, which included
the construction of a permanent roof, thanks to the support of the
Fondo Contravalor Peru - Francia (Peru - France Exchange Value Fund) .
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Entrance to Huaca Las Balsas
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Huaca Las Balsas seen from the northwest
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Huaca de las Balsas - Location
Huaca de las Balsas is a small rectangular structure located on the
southwestern edge of the pyramid valley in Tucume.
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It is part of a select group of buildings made up of Huaca Los
Gavilanes, Huaca las Abejas and Huaca Facho.
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These buildings, which are shaped like truncated pyramids, are most
likely related to each other in ways that have yet to be studied.
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History of Huaca Las Balsas
The oldest dating relic from this area is a small gourd fragment found
in one of the human burial sites located in the southern part of the
building. This particular fragment allows us to date the site from
anywhere between 1240 and 1300 CE, corresponding to the Lambayeque
Culture which thrived prior to the Chimu conquest (1380 - 1470).
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Another sample for carbon dating comes from the two fire places in the
domestic ares located outside of the building. This sample gives us a
date of anywhere between 1310 and 1360 CE, which was immediately after
the burials, but still prior to the Chimu conquest.
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If these dates correspond to Phase V of the archeological layer, then
the initial construction of Huaca de Las Balsas is contemporaneous
with the initial construction of the pyramids in Tucume, dating
somewhere between 1000 and 1100 CE.
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History of Huaca Las Balsas in comics
- «The Chimo have become a powerful enemy… we are lost…»
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Thus much time passed until the all-powerful tyrant Lord Chimo Capac
took over these valleys, entrusting their government to Pongmasa, who
succeeded him: Pallesmasa and then Oxa, at which time the Incas had
arrived at Cajamarca.
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«Oxa my lord, we have news that the great Inca army demands your
surrender…»
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After the conquest of Cusco with Tupac Inca Yupanqui, the following
followed: Lempisan, Chulumpisan, Cipromarca, Fallenpisan, Efquempisan
and Secfunpisan.
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North sector
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North sector
This sector's main structure consists of at least eight superimposed
levels, representing the various phases of construction during each
archeological era.
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The excavation of each phase revealed numerous decorated mud reliefs
and no traces of garbage or fireplaces that would indicate domestic
use.
- The earthen floors are well laid, polished and clean.
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The common theme across the reliefs is the representation of a
mythical sea bird, which sometimes appears in human form wearing a
semi-circular crown and holding circular objects in the hands. This
representation is associated with waves, fish, boats, Spondyllus
shells, stepped symbols, temples, llama sacrifices, dancers,
earthenware jars used for corn beer (chicha), and other ritual
aspects. The emphasis on the worship of the mythical sea bird is
apparent.
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The initial moments
The first phase of construction is located on the natural soil layer and
shows walls with reliefs that represent rows of interconnected sea
birds.
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At a later date, these walls were partially destroyed and covered by a
new construction, which included floors and ramps decorated with
waves, stepped symbols and rows of sea birds holding circular objects
in their hands.
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Building materials
In the construction, reconstruction and remodeling of the site, have
been used mud bricks of bread shape, without marks of manufacturers.
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The mud brick has an average of 30 cm (11.8 in) long, 18 cm (7 in) a
wide and 18 cm (7 in) height.
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The mud plasters are of brown color, on which it have applied a layer
of paint of greenish color. The mural art have received the same
treatment.
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A layer of greenish paint covers them in a evenly. This green paint
has been obtained from a clay layer that underlies the geological
formation below the prehispanic constructions around La Raya Hill.
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Panorama of the north corner
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The scene of sacrifices
The frieze of the Rite is a novel element in the Lambayeque tradition,
in which the scenographics scenes are scarse.
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The Moche spirit appears into the conception of this scene, showing a
complex activity including Lama sacrifices, with priests as
protagonists, into a context of dancers, a temple and Chicha (corn
beer) jars.
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In Huaca Las Balsas the mural art show the genuine style of the
Lambayeque tradition. The scenes express a deep mythical and ritual
content, as an authentic expression of the local religiosity.
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Reliefs of Huaca Las Balsas
Seven of eight architectural phases, are decorated with interesting and
well defined mural art, that share as a common denominator the
representation of marine scenes of mythical content: Bird man and
supernatural birds on reed boats, surrounded by marine animals (fishes
and birds), anthropomorphic and bird-like waves, mythical animals or
birds with half moon shaped headdresses, holding rounded objects into
his hands and specific geometrical motifs typical of Lambayeque culture.
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The scene of mythical navigators
In this scene, among the many birds, fish and waves containing both
human and bird-like features, appear two prominent figures: a Bird-man
with a stepped headdress and a bird with a semicircular headdress. Both
figures are paddling a reed boat.
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This mythical scene is thought to be related to the Naymlap (or Nam
La) legend, which tells of the origin and foundation of the Lambayeque
culture. It is said that this important figure arrived to the shores
of Lambayeque, crossing the ocean on a balsa raft carrying his entire
court and numerous servants. He built a temple called Chot, on which
he placed the idol Llampayec, a portrayal of himself, and another idol
dedicated to his wife Ceterni. Cala, one of the descendants of
Naymlap, arrived at Tucume and founded the city. Nam La, in the
mochica language, means Sea Bird.
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Navigators and the harvest of Spondylus
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The Bright Sailor's Star - In this scene, a group of mythical
sailors, portrayed as birds and bird-men rowing their reed boats,
escorted by other sea birds, fish and waves in the shape of birds that
hold circular objects in their hands. A concentric circle with
multiple extending rays represents Venus, which was of great
importance to the life and culture of the fisherman.
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The Mullu Raft and Harvest Scene - The marine scene depicts a
wooden raft with a triangular sail, divers collecting Spondyllus
shells and two sailors on both sides of the mast. The divers have
pointed instruments used for collecting sea shells and are tied by a
rope from their waist, held up by the sailors on the raft. Beside this
panel, a large pile of sea shells surround the Deity of the Spondyllus
that emerges from one of the shells. The figure wears a semicircular
headdress and has its arms open, holding a cup and a scepter.
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Domestic sector
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Domestic sector
This sector has its entrance at the northeast corner of the building.
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The main room has a wide bench which attaches to a stove, which was
full of ashes, charcoal, pot sherds and shells of shellfish.
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On the floor has been found marine shells, fish spines, avocado, pacae
end calabash seeds and others.
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Into the same context has been found a piece of carved wood from a
loom, made of carob tree wood, that indicates a female presence as
part of the functioning of the domestic context.
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Behind this room, has been found a corral with a dense layer of lama
excrements.
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This room is communicated with a contiguous space to the southern
side, which was not excavated yet.
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Panorama of the domestic sector
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South sector
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South sector
The southern sector is characterized by a dense loose fill of earth with
some compact layers of mud.
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These fill cover the upper part of lateral wall, which works as a
contention wall, including the divisional wall in the center of the
building.
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At the upper part of the fill has been found 8 human burials and one
llama burial.
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Panorama of the south sector
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South external sector
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South external sector
The ground outside of the building was well maintained and covered with
large amounts of seashells (Donax sp), ashes, charcoal and other
fossil fragments of marine-life.
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This floor is considered to be a part of the other structures that
still remain to be excavated.
- A facade with a well plastered wall was found in this section.
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Attached to it is a wide ramp that extends alongside the uppermost
part of the building. According to the dimensions, this ramp was
designed so that groups or persons holding large objects could enter.
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Panorama of the south external sector
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The burials of Huaca Las Balsas
In the southern sector of the building, nine human graves and the
remains of one llama have been uncovered. These burial sites were
contained within the thick layer of earth fill located underneath the
tall house and its patio.
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The majority of the remains belong to female corpses, with only one
male skeleton identified amongst the group. Almost all of the corpses
were buried horizontally on their backs with their heads facing south,
an ancient Lambayeque tradition dating back to Mochica times. One boy
was buried in a flexed and seated position, a custom imposed by the
Incas.
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All of those being buried were wrapped in cotton blankets and reed
mats. The women were buried with various weaving instruments:
spindles, looms, needles, sticks and household ceramic items: jars and
gourd bowls. They were also adorned with jewelry and simple personal
accessories: rings and necklaces (made of Spondyllus beads and some
made of cooper).
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See also
Source
Location
